“This Is America” and the prophetic voice

The internet has been in an uproar. While Donald Glover was hosting Saturday Night Live he unexpectedly dropped a new music video from his hip-hop persona Childish Gambino, This Is America. It has 92 million views in less than a week, sparking debate and vigorous attempts to interpret the social meaning of the video. Directed by Hiro Murai, a frequent director on Glover’s FX show Atlanta, the camera follows Childish Gambino as he dances his way through a series of viscerally intense scenarios. The scenes depict Glover’s experience of being a black man in America, raising conversations around gun violence, black entertainment, the socializing of black children, protests, poverty, and more. (The video contains two brief scenes of shocking violence, a marijuana joint, and one curse word, all handled with artistic value.) For a thorough breakdown of the themes of the video without the moments of violence, go here.

TIA gif

From my vantage point as a white female viewer, I was most struck by This Is America’s use of distraction and redirection. The first time I watched the video I was captured by Gambino’s dance moves and expressions. The background action is often intentionally out of focus, making it that much easier to only notice the entertainment and ignore the chaos taking place behind him. Multiple times Gambino is surrounded by teenage school children, dancing in perfect synchronization with smiles on their faces. To be quite frank, my first thoughts were, “Wow, Donald Glover is actually a really good dancer!” For me that was a major part of the genius of the video. As a casual viewer I immediately fell into the trap of only being entertained without wrestling with the deeper themes of racism and violence in America. In so doing I was confronted with my willingness to only notice things that are pleasant to watch while tuning out harsh realities that lead to feelings of discomfort or sorrow. Is that not a widespread temptation in our society today? To be pleased when we are comfortable and angry when we are confronted with things we would rather ignore?

As I watched the video a few more times, I was soon reminded of the Old Testament prophets. From Isaiah to Malachi, the role of the prophets was to proclaim God’s word to God’s people. God spoke through the prophets over and over again to call the people away from sinful disobedience and back to God’s covenant relationship. The people continually fell into all kinds of destructive practices that were eroding their society. The prophets would call out the sins of the people, commanding them to return to the Lord before they became past the point of no return. There was always an assurance of restoration, God’s perfect balance of justice and mercy. God would act in response to violence and exploitation of the vulnerable, and would always seek the good of the people. Let’s look at a few of the prophetic exhortations:

The word of the Lord came to me:

“Son of man, will you judge her (Jerusalem)? Will you judge this city of bloodshed? Then confront her with all her detestable practices and say: ‘This is what the Sovereign Lord says: You city that brings on herself doom by shedding blood in her midst and defiles herself by making idols, you have become guilty because of the blood you have shed and have become defiled by the idols you have made. You have brought your days to a close, and the end of your years has come. Therefore I will make you an object of scorn to the nations and a laughingstock to all the countries. Those who are near and those who are far away will mock you, you infamous city, full of turmoil. 29 The people of the land practice extortion and commit robbery; they oppress the poor and needy and mistreat the foreigner, denying them justice. ~ Ezekiel 22:1-5, 29

“My people, what have I done to you?
How have I burdened you? Answer me.

10 Am I still to forget your ill-gotten treasures, you wicked house,
and the short scales, which is accursed?
11 Shall I acquit someone with dishonest scales,
with a bag of false weights?
12 Your rich people are violent;
your inhabitants are liars
and their tongues speak deceitfully. ~ Micah 6:3, 10-12

27 Like cages full of birds,
their houses are full of deceit;
they have become rich and powerful
28     and have grown fat and sleek.
Their evil deeds have no limit;
they do not seek justice.
They do not promote the case of the fatherless;
they do not defend the just cause of the poor.
29 Should I not punish them for this?”
declares the Lord.
“Should I not avenge myself
on such a nation as this?

11 They dress the wound of my people
as though it were not serious.
“Peace, peace,” they say,
when there is no peace. ~ Jeremiah 5:27-29, 8:11

And the word of the Lord came again to Zechariah: “This is what the Lord Almighty said: ‘Administer true justice; show mercy and compassion to one another. 10 Do not oppress the widow or the fatherless, the foreigner or the poor. Do not plot evil against each other.’

11 “But they refused to pay attention; stubbornly they turned their backs and covered their ears. 12 They made their hearts as hard as flint and would not listen to the law or to the words that the Lord Almighty had sent by his Spirit through the earlier prophets. So the Lord Almighty was very angry. ~ Zechariah 7:8-12

Stubbornly they turned their backs and covered their ears. America is not the nation of Israel, and to my knowledge Glover does not profess a Christian faith, but This Is America is tapping into some universal biblical truth. The prophets frantically tried to hold a mirror up to Israel to show them where their comfort and self-indulgence were resulting in the dismantling of their society. Those themes are echoed in this modern expression. The video confronts its viewers with the ways that our desires for comfort and excess are causing us to ignore the marginalized, allowing violence to go unchecked.

TIA cars

It is also fitting that this call is coming in the form of a music video that makes use of symbols and extreme imagery. God frequently commanded the prophets to physically act out behaviors that were metaphorical for Israel. Hosea marries a prostitute who cheats on him and runs out on him. Yet Hosea pursues her and brings her home, symbolizing in a powerful way God’s love and pursuit of an unfaithful people (Hos. 1-3). Ezekiel builds a mini replica of the siege of Jerusalem and lies on his side for 390 days, then his other side for 40 days to symbolize God’s judgment on Israel and Judah. He is given instructions to make a specific bread with specific daily rations, indicating that the people would eat “unclean bread” during the Babylonian exile (Ez. 4). Jeremiah is commanded to buy a linen belt, place it in the cleft of a rock by the Euphrates and leave it for several days. He then went and retrieved it, revealing that it was now ruined as a garment in the same way that Israel had become worthless in their disobedience to God (Jer. 13). He is also commanded to break a clay jar to symbolize God breaking all their tools of idolatry (Jer. 19).

God is a brilliant communicator who understands that as humans, just being told something does not always mean that it will sink in. Sometimes we have to see it acted out in order for the gravity of a situation to become real. In a very similar style, This Is America puts forth jarring representations of uncomfortable realities in a way that causes them to be unavoidable.

All good art elicits a reaction. The question now is whether our reactions can move past cultural decoder rings and into hearts softened by compassion and repentance. The prophets were notoriously hated and often martyred. Anyone bearing a message that the public does not want to hear is putting themselves at risk. Will we be better listeners than those that came before us? Will we listen when confronted with experiences we may not all share but which call us to active engagement? Will we hear the cries of the prophets that echo across time and place? I pray that we will respond, not just to modern art, but to God’s timeless love of justice and mercy.

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The Horrors of Parenting: A Quiet Place

“How can anyone bring a child into this world?”

Have you ever heard someone say those words, or perhaps said them yourself? In many ways that sentiment is understandable. The world is a harsh place, full of potential threats and abuses and hurts. Full of prejudice, division, and evil. Life is fragile with no guarantees of tomorrow. That is a lot of uncertainty to take on if one is going to be a parent. To be responsible for another life in a world where all you have to do is turn your back for a second and your child could vanish.

quiet place turned backs

It is this very fear that the horror/suspense film A Quiet Place confronts. On the surface it is a movie about a world inhabited by monsters (perhaps the result of an alien invasion) who are blind, but have an extremely heightened sense of hearing. The smallest sound could immediately attract them, throwing you, and anyone near you, into grave danger. The tagline of the movie is, “If they hear you, they hunt you.” It is in this environment that a family is attempting to survive together.  They’ve succeeded so far by living off the land, settled on a remote farm. With few, if any, people around them, the potential for sound is much more controlled.

The parents have created an elaborate system of silence. The father (played by John Krasinski who is also making his directorial debut) has created paths around the farm for the children to walk, lined with sand that will dampen any sound. They primarily live in the barn now because the old wood floors in the farmhouse are too creaky. Their eldest child is deaf (played beautifully by Millicent Simmons who is actually deaf) which provides a new blessing since the family all knows sign language and are able to communicate without speaking. Much of the film is silent, the dialogue and soundtrack are very limited. There in an ominous tension that pervades the film, but which is interwoven with sweet moments of the parents (made more believable by Krasinski and Blunt who are married in real life) connecting with their children and attempting to help them have semblances of normalcy. They are a loving family in a traumatic situation who are doing their best to live as a team.

quiet place family

As the film progresses you realize it is about much more than blind monsters, it is a metaphor for the fears of parenting. The setting of the story amplifies the reality that parents can never control their child’s every move.  Children will inevitably knock something over by accident. Even when you create literal paths for them to walk, they will veer off it. They will disobey and fail to understand the urgency behind their parents’ rules. They will perceive the world and have feelings that their parents will not understand or did not intend. The “horror” of A Quiet Place is the fact that it is impossible for parents to protect and control their children all the time, despite how much they love them or are trying to give them everything they need to live well. The frailty of the children is so keen. Beginning with the unpredictability of giving birth, to a newborn who needs to cry (Emily Blunt has some spectacular scenes here), to a pre-teen who is not always in control of her emotions. As an audience member you feel the parents’ anxieties and helplessness deeply.

And yet that is not all we are shown. As the suspense heightens, the children are separated from their parents forcing them to rely on their own wits and on each other to survive. As much as the kids are incredibly vulnerable, they are also profoundly resilient. We see flashes of deep emotional insight as they understand more than their parents expect. They are able to think on their feet and make connections that reveal they were listening to all the careful instruction. They are able to work together as they have seen their mom and dad work together. And what seemed like the greatest vulnerability of the family becomes their greatest strength. It was when the parents did not have perfect control that the kids grow and become stronger.

quiet place kids

A Quiet Place is ultimately a heart wrenching and hopeful picture of family. The world is a very scary place, but as the book It’s Not Too Late by Dan Dupee describes, being the perfect parent is not what kids need to be healthy. Kids need parents who love them, are involved with them, and who also allow them to experience life’s many facets. Sometimes the things we fear the most for our children, experiencing pain and unhappiness, are exactly what they need to become compassionate and resilient adults.

Black Panther: It’s really Nakia vs. Killmonger

Without a doubt Black Panther is a game changer. Ryan Coogler, director of Creed and Fruitvale Station has established himself as an incredibly insightful storyteller. A superhero movie that uses the genre to explore identity and the experience of the African Diaspora is very much worth the 1 billion it has already surpassed at the box office. Not only does the film break ground on creating the platform to imagine thriving African nations who are free to rule themselves, and the relationship between the continent of Africa and African-Americans, Coogler puts forth the best treatment of women that I have seen in any movie. Period. So much so that the Black Panther, T’Challa, is not actually the hero of the story. It’s Nakia.

Played flawlessly by Lupita Nyong’o, the character of Nakia at first seems like a love interest and a female supporting role with her own cool skills. But when I watched the movie a second time, I realized that the story actually pits her as the hero who stands in opposition to the “villain” Erik Killmonger. (Killmonger is a very complex and sympathetic character, the most poignant of the film for me. I think his approach is erroneous, but the question of the film is less “who” is the villain than “what” is the villain.)

(Warning: contains spoilers)

They both see the pain outside of Wakanda

Killmonger grew up in inner city Oakland, and also served in the military traveling extensively. He felt personally the pain of the African-American experience and the deep injustices that plague the world. Nakia has also spent extensive time outside Wakanda as a spy on missions around the globe. When we first meet her she is on a mission among human traffickers, not only rescuing the women who have been kidnapped but also protecting a male child soldier. They each have intimate knowledge of the ways that black people are suffering and in need of empowerment. Where they differ is in how they want to address it.

Nakia and Shuri

They both want to empower black people

After T’Challa is crowned king of Wakanda, he and Nakia have an important conversation as they stroll through the marketplace. T’Challa asks her what she would have him do as king. Without hesitation she replies, “Share our resources.” She is the first person in the film to suggest that Wakanda needs to look outward and move away from their seclusion. Herein lies a key difference between her and Killmonger: she looks at the mistakes of the world and wants to learn from them to improve upon what has been done before. She says to T’Challa, “Other countries offer aid and refuge, we could do it better!” Killmonger on the other hand looks at the mistakes of the world and seeks to recreate destructive patterns against the original perpetrators. When he and T’Challa are fighting he tells him, “I learned from my enemies that you have to beat them at their own game.” He sees suffering in the world and wants to use the resources of Wakanda to arm black people so they can turn the tables of colonization back on their oppressors. In the process he has no problem killing several black people. His plan would continue the cycle of death and endless power struggles. Nakia’s plan is to break the cycle entirely. When she rescues women and the child soldier from human trafficking she tells them, “Carry yourselves home now. Take the boy with you, get him to his people.” She gives them power to immediately take ownership of themselves and power to help someone else. Her every move preserves life. To learn from what has failed in the past and do something new and different that could truly change the world.

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They are both offered the heart shaped herb

Killmonger wins the right to be Black Panther and wastes no time consuming the heart shaped herb, the secret to the Black Panther’s abilities. His immediate next step is to destroy it so that no one other than him can have it. In that same moment Nakia slips in and plucks one last herb, again showing her drive towards preservation. As Nakia journeys with Shuri and Ramonda, T’Challa’s sister and mother, Ramonda urges Nakia to take the herb herself. Nakia is trained in combat and would make a very good Black Panther. But she refuses to grasp for power that is not rightly hers. She declines to join the power struggle and in so doing is later able to use the herb to save T’Challa’s life. She understands in a profound way how to use power in ways that are rightly ordered for the flourishing of all, not just for her own advancement.

They both exert power in Wakanda

Killmonger becomes king of Wakanda through an endless series of death. We see him kill multiple people on screen in his quest towards Black Panther, and he tells T’Challa about all the people he has killed along the way. “All this death just so I could kill you.” Killmonger is a man whose life has tragically been marked by death since childhood, and he sees no other way of living than to kill. When Nakia sees Wakanda teetering on the brink of destruction under his rule, she has a choice. She can support Killmonger as king and serve Wakanda in the hopes that things will turn out all right. She responds vehemently when asked to serve her country, “No, I’ll SAVE my country!” She partners with other women to fight Killmonger, and ultimately T’Challa tells her, “You saved me. You saved our nation.” The way they each exert power is diametrically opposed. Every choice she makes is for the furtherance of flourishing for all people.

They both interact with women

I did not see it clearly until my third viewing of the film (it really is that good), that Killmonger only has two significant interactions with women other than Nakia. We never see or hear of his mother, he is always surrounded by men and addresses men. He has a girlfriend who only has two lines of dialogue, and whom he treats as expendable. Then we see him strangle a female shaman when she initially balks at destroying the heard shaped herb. He threatens her, “When I tell you do to something, I mean that s***.” The only way he interacts with women is to dominate and treat them as objects. In refusing to be interdependent with women, Killmonger ultimately cuts himself off from true power and success. His life is lopsided and unidimensional.  He can only see one way of being and succumbs to the cycle of death. In sharp contrast, Nakia has thriving relationships with women and is nearly always working collaboratively with them. Together these women are creators and protectors, imagining many ways of being that can result in vibrant lives.

Nakia and squad

This is one of the strongest aspects of Black Panther, that the female characters are complex and diverse and all have meaningful relationships with each other. Part of what makes Nakia strong is her willingness to be interconnected with others, specifically other women. These women are also what make T’Challa and Wakanda strong. Their society is one that is marked by creativity and equity. When the women are shared partners in their national life, the possibilities become boundless. Wakanda is a fictional place that is giving all black people the opportunity to imagine different possibilities for themselves and their communities. Wakanda is also giving the whole world a chance to imagine what a shared future could look like for us all. If Nakia is leading the way, I’m here for it.

Ivan’s Top Ten Movies of 2017

It’s the end of another year in cinema and, looking back on the year that was, I can definitively say that we are living in a golden age of television. That’s right, with streaming services and cable channels churning out tons of risky, unique stories on the small screen, I can’t help but be disappointed by the onslaught of passable, at times directionless fare we got on the big.

I had a ton of fun with movies like Wonder Woman, Thor: Ragnarok, and Spider-man: Homecoming but then screamed in disappointment at a underwhelming new King Kong, a beautiful but bloated Blade Runner sequel, and, in my opinion, an offensively bad first shot at the Justice League. By the time awards season rolled around, I was feeling pessimistic about the movies 2017 had to offer.

I still don’t think it’s been a particularly strong year for film. Here’s hoping the trend of studios trying to make their own Stranger Things will pass soon. Even some of the early awards favorites like The Shape of Water and Three Billboards Outside Ebbing, Missouri failed to connect with me. However, after a solid binge of movies we missed or were recommended to us, I’ve filled out my top ten movies of the year.

10. Split

Confession time. I love M. Night Shyamalan. Sure he peaked way early with The 6th Sense, and may have made a few enemies with The Last Airbender, but I still think he’s brilliant. Thankfully, we are moving into an era of not having to hide Shymalan fandom any longer. After surprising fans with The Visit, the “Shy-man” was back to form and this year rocked my world with Split. An incredible performance by James McAvoy and a story that both narratively and visiually kept me guessing makes this one of Shymalan’s best. Perhaps my favorite parts of this film were the things unsaid, the nuanced details I’ve since gone back and realized. Toss in a beautiful theme that would make Alessia Cara proud, and I’m ready for the upcoming sequel.

9. The Lego Batman Movie

When 2014’s The Lego Movie came into my life, I thought there couldn’t be a movie more tailor made for me. To that, The Lego Batman Movie says, “hold my drink.” Legos, super heroes, jokes, stunning animation, and a story about friendship and, really, the family of God, come on! Does it get any better? Batman isn’t even my favorite superhero, but watching him make mouth sounds to lobster thermidor warming in his microwave made me fall in love. Here’s hoping for a Robin-centric sequel. Fly, Robin, fly.

8. Detroit

From two movies that I’ve already watched multiple times, to two movies I’m in no hurry to watch again. The first of which is Kathryn Bigelow’s Detroit. Telling the story of the 1967 events that tore a city apart, Bigelow brings her expertise in depicting war to the streets of Civil Rights America. The content is horrific and has left audiences split, but I don’t remember this story even being a footnote in my history books. The story has to be told, and, to do the story justice, the horrors had to be real. Our history is ugly and Detroit puts that ugliness on display. There is so much in the movie that will break your heart, but, after everything Bigelow takes her audience through, watching John Boyega’s character, Melvin, in his final interrogation scene might bring you to your knees. Read Heather’s complete reflection on Detroit here.

7. Wind River

Throughout Wind River, you’ll hear again and again how desolate, how draining, how terrible the living conditions are in its rural Wyoming setting. That narrative is so present it’s often the sole excuse given for the deplorable actions in the film. You may even feel cold watching the movie. Then you realize, for many of the characters, they have no choice but to live there. Writer/director Taylor Sheridan, who topped by list last year with Hell or High Water, here tackles the shocking reality of missing indigenous women. I’ve got mixed feelings about depicting sexual violence in film, but, again if this story is going to be told it has to be given justice. Wind River is heartbreaking, suspenseful, and masterful storytelling but telling that story means shining a light on the dreadful things happening in America’s dark shadows.

6. Molly’s Game

Molly Bloom is a fascinating person and her story, written in her book “Molly’s Game,” is a fascinating story, but those things do not make a fascinating movie. Aaron Sorkin’s writing makes a fascinating movie especially when telling remarkable true stories. Just as he did with Facebook’s Mark Zuckerberg and Apple’s Steve Jobs, in Molly’s Game, Bloom, a former world-class skier who at 26 was earning millions of dollars running poker games for celebrities and mobsters, gets the total Sorkin treatment. In the hands of a less capable storyteller, this movie could have been a Rounders remake, but alongside thrilling performances by Jessica Chastain and Idris Elba, Sorkin’s directorial debut had me all in.

5. Baby Driver

Baby Driver is a technical achievement. If you’re unaware, director Edgar Wright (Shaun of the Dead, Hot Fuzz), wrote this heist movie with the entire soundtrack in mind. The soundtrack is pumped through the headphones of lead character, Baby, who uses music to drown out his chronic tinnitus. Wright then took that soundtrack and blocked, crafted, and choreographed a symphony of chases and action scenes. It is breathtaking. Every step, every gunshot, every background noise plays into the music creating a chaotic harmony that puts fully on display Wright’s filmmaking genius. Underneath the technical skill, also lies a story about maintaining innocence in an increasingly harsh world. If you’re anything like me, you won’t want to put Baby in a corner, but straight into your blu ray player for repeat viewings as you unpack everything Wright jammed into the film. The soundtrack is also available on Spotify in case you find yourself on the run. Read my complete reflection with companion Psalms for Baby Driver here.

4. Get Out

The best theater experience I had this year (maybe ever), including Star Wars, was Get Out. With every twist and turn the the sold out theater came unglued with gasps, laughs, and screams. When it came to its climatic end, row after row jumped to their feet cheering, clapping, and dancing in the isles. It was cinematic magic. For many, it was a therapeutic, genre bending take on the horrors of their reality. With Get Out, Jordan Peele is giving audiences a creative taste of his own experiences. I suggest you watch it, maybe with someone who doesn’t look like you, because it is a film best enjoyed in community. Read my complete reflection on Get Out with discussion questions here.

3. Star Wars: The Last Jedi

I love The Last Jedi. Come at me! I’ve often considered my Star Wars zeal to be fairly moderate. I’ve read some comics, but haven’t read the expanded universe novels. I have a few toys on display, but haven’t attended a convention or own my own stormtrooper armor. I’ve seen every episode of Clone Wars, most of Rebels, and both Ewok spin-off movies. I’m a fan and I know that fans love how much they know about Star Wars, and director Rian Johnson took that hubris and knocked us right off our high horse. I would say, the majority of the hardcore fans I know did like it, but still there’s a lot of hate out there and I just don’t get it.

I don’t want the galaxy to return to the state it was in when Episode I begins, a too-big-for-their-britches Jedi order and a world steeped in bureaucracy. It has to evolve to something more. For decades now, Star Wars has been a beautifully simple story that anyone can relate to, but as the universe expands, the complexity has to expand. War is not simple, and The Last Jedi, led by a conflicted and weathered Luke Skywalker, isn’t a simple story and one even the most learned fans couldn’t see coming. The original Star Wars was a surprise to fans in 1977, and now the finale of this new trilogy has the opportunity to do the same. Read my complete reflection on The Last Jedi here.

2. Mudbound

Mudbound is a beautiful and tragic film. Director Dee Rees took a book about life post-WWII in the Mississippi Delta and created a film that feels like your reading an epic southern novel. This is a time-period that feels like a world in flux. America just got back from helping to liberate countries at war, countries ravaged by hate, violence, and prejudice and, yet it was an America that was still being ravaged by hate, violence, and prejudice. Under their brilliant auteur, this cast gives so much life and breath to the lives of these characters. Sometime soon Jason Mitchell (Straight Outta Compton, Detroit) will win an Oscar and I hope it comes from this one, along with a potential statue for Mary J. Blige as well. Mudbound has the ability in the matter of minutes to take you from the thrilling hope of progress, togetherness, and healing into a space of fear, division, and ignorance and still the characters keep pressing on into the future. As we keep pressing on today, it was a helpful reminder of the ups and downs of progress. Read my complete reflection on Mudbound here.

1. Logan

Logan did the impossible. I hate Wolverine. I hate that he is a terrible teammate. I hate that he constantly runs into battle with no plan just screaming and slashing. I have hated his two solo movies, X-Men Origins: Wolverine and The Wolverine, mostly because they feature him running, screaming, and slashing for two hours. Even in X-Men movies I like, for example Days of Future Past, Wolverine is the worst part. Seriously, watch the final battle in Days of Future Past…with no plan and no thought he runs straight at Magneto, who can control the very substance Wolverine is made of, and immediately gets tossed aside. He’s the worst, but Logan made me love him.

All of his mistakes, all of the running, screaming, and slashing, is coming back to haunt an older, regret-filled Wolverine. He now hates the things I hate about him. This is an uncomfortably violent and bloody film, but that is kind of the point. His life has been defined by violence and this is now a cycle he can’t rip his way out of. Tragedy has struck everyone he’s been close to and all of the running and screaming in the world couldn’t save them. Logan plays out as Wolverine’s penance. Throughout the film he is emotionally and physically torn apart piece by piece until there is little left.

Still, what is left, is hope. What Wolverine had never realized in movies before is that he’s not the X-Men’s greatest weapon, but he could have been their greatest protector. As he comes to terms with his mistakes, he begins to change his role and, in doing so, preserves the future of mutant-kind. Also, watching Logan care for an aging Professor X, with an awards-caliber performance by Sir Patrick Stewart, showed me vulnerability I’ve always wanted and had never seen from Wolverine. As superhero fans begin to expect more complex stories from their big blockbuster films, the brutal and emotional Logan has sent me running and screaming into the next era of comic book movies.

Check out Heather’s Top Ten movies of 2017 here!

Heather’s Top Ten Films of 2017

This has been a strange year for movies. Normally I have a very difficult time narrowing a list down to what I consider the best ten of the year, but in 2017 it has been a challenge to fill a list of ten. In my perception so many films lacked heart and focus. Movies like “Three Billboards Outside Ebbing Missouri” and even “The Shape of Water” felt flat or preachy or simply lacked resonance. For me there was a deficit of beauty, and stories that captivated. Perhaps it reflects our cultural moment in 2017 that we are all struggling to find meaning and honesty. We are still struggling to open our hearts to one another. That may have influenced the stories we told this year and the way we reacted to them. Here are the movies that stayed with me and caused me to think, feel, and connect to the human experience.

Honorable mention: These did not make the final cut but were well crafted stories that could be worth your time.

Molly’s Game – Written and directed by Aaron Sorkin, Molly’s Game is terrific. Sorkin is known for snappy dialogue which Jessica Chastain and Idris Alba deliver perfectly. Based on the true story of a young woman who creates a high-stakes poker empire, you do not want to miss this superbly written, wonderfully acted film.

MOLLY'S GAME

The Square – This is a Swedish film so the European style may feel strange to some, but it is a thoughtful exploration of the way humans relate to each other. It is quirky and uncomfortable at times, but makes beautiful use of motifs and symbols. If you are looking for a movie to give you plenty to process later, give this one a try.

Ingrid Goes West – This was a small movie which came out over the summer that focuses on Instagram culture and how we curate ourselves to others. It highlights the tendency to collect experiences in order to present a meaningful life. What is special about this take on social media is that it explores how we use the platform rather than categorically condemning it. The ending is controversial, but I find myself frequently returning to the themes in the story.

The Big Sick – The ideas in this story will feel familiar to audiences of Aziz Ansari’s Netflix show “Master of None”, but it is a warm and funny true story. It is acted beautifully with Ray Romano and Holly Hunter turning in particularly poignant performances.

Top Ten:

  1. The Beguiled – Director Sophia Coppola’s most recent film, a clever remake of a 1970s “exploitation” film of the same name and based on a novel. The original film was heavily sexualized, focusing on the male lead Clint Eastwood. The novel was also authored by a man, and the story follows an inter-generational group of women living in a girl’s school during the Civil War when all the men were away. One injured soldier wanders to their home and they take him in to tend his wounds. What I love about this story is the way Coppola reclaims the emphasis of the film to turn the focus onto the dynamics of women relating to one another during an extraordinary time period. Make sure you watch the special features for the film, Coppola’s vision for the story is beautiful as are her relationships with her cast.

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  1. Coco – Pixar’s major film for the holidays is a charming and heartfelt story about family, legacy and forgiveness. The animation is stunning, the music is catchy, and the narrative is well developed and sweet. A great choice for the whole family!

 

  1. Baby Driver – The remarkable aspect of this film is the incredibly creative and precise use of the soundtrack. The story follows a young getaway car driver nicknamed Baby who suffers from constant tinnitus. To balance out the ringing in his ears, he has a collection of iPods with carefully selected playlists so he has music for every situation throughout his day. The soundtrack to the film is the music Baby is listening to, which is intricately choreographed with each movement and sound in the movie. Writer/director Edgar Wright gave the screenplay to the cast on iPads so they could listen to the corresponding music which would punctuate each scene as they read. The story is fairly simple but the use of sound editing makes it a feat of filmmaking that will you bring you back for multiple viewings.

 

  1. The Last Jedi – You do not have to be a Star Wars fan to enjoy this movie (although it probably helps). There are many things to appreciate about this installment. The cinematography is breathtaking, the characters are wonderful, the story is developed well. What struck me most is the theme of generational hand-off. How does the older generation work through their past failures and habits and empower the next generation to take their places? How does the younger generation step up to wisely channel our energy? These are important questions for the Church that Star Wars could help us think about.

 

  1. Ladybird – This is a great coming of age story that embraces and also transcends the genre. Director/writer Greta Gerwig lends an insightful take to not only depict youth but also parenthood and place. Ladybird beautifully explores adolescent ambivalence between trying to distance oneself from roots and what has shaped us, and desperately wanting to feel connected to those same things. With a wonderful lead performance by Saoirse Ronan and terrific supporting roles, this was a stand-out.

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  1. Wonder Woman – This movie produced one of the most emotional connections I had with a film this year. I think for me and for countless women in the US and around the world, Wonder Woman met a need we did not know we had. She is a female super hero in the truest sense. She is strong and capable and compassionate and determined. Her power is not in acting like a man, but in channeling the best of femininity. There is a specific scene in the middle of the film when Diana runs towards a fight, without hesitation and without fear. I still feel proud and empowered every time I think of this scene and what it means to see a woman act with courage and advocacy. The third act of the movie is a little clumsy, but otherwise it is a rare gift in the super hero genre.

 

  1. Silence – Based on the Japanese novel of the same name, this adaptation was ten years in the making for Martin Scorsese. It was released in early January 2017 which is why I am counting it in this year’s contention. The book is a haunting story of Portuguese Jesuit priests who were missionaries to Japan in the 1500s. The plot deals with faith, culture, doubt, martyrdom, and the question of where is God in human suffering. It is also a rare movie that portrays white characters entering a foreign culture in a way that honors and elevates the Japanese characters, treating them as equals with meaningful dialogue and autonomy. The runtime is long and the content is intense, but the story raises questions that are worthy of your wrestling.

 

  1. Mudbound – Ivan wrote a full review so mine will be brief. What I appreciated about this film is that it told a story not often highlighted. It follows two WWII GIs, one white, one African-American, coming back to the Mississippi Delta and readjusting to a Jim Crow South. The US tends to ignore our racial history between 1865-1965 so this is a story that very much needs to be told.

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  1. Detroit – This summer offering was met with some controversy, perhaps because director Kathryn Bigelow’s approach was misunderstood. As a director who has previously told stories that follow war and torture, she lends a fascinating take to US race relations. Her style brings a fresh lens to how we might view the policing of communities of color. It is very intense to watch, but that is the point. Check out my full review for synopsis and thematic analysis.

 

  1. Get Out – I typically avoid horror films and have mixed feelings about the genre, but writer/director Jordan Peele blew me away with his February release. He harnessed the best of what horror can be, turning a magnifying glass onto daily realities to reveal the underlying atrocities. The narrative is a horror film about racism, cultural appropriation, and turns many classic tropes on their heads to bring the audience face to face with our prejudices. It is wildly creative and I think a brilliant work. The violence is relatively minor for the genre, so even if you dislike horror as I do, consider giving it a watch.

 

Viewer content guide: Please note that some of my selections are rated R and/or contain adult content. In my opinion the value of the overall story is worth the potentially offensive content, but use your own discretion and look up ratings before viewing.

 

The Power of The Last Jedi

“You underestimate the power of the dark side,” says Darth Vader to his son and desired apprentice Luke Skywalker. It’s one of those Star Wars lines that sticks with you. The line is meant to strike fear in young Skywalker, but it puts on display one of the major themes of the saga and one that is so beautifully at the center in the newest installment, The Last Jedi. In an expansive galaxy like that of Star Wars, with expert pilots, exotic alien creatures, and supernatural warrior priests, who has the most power? What does true power look like?

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The easy answer for many long-time fans would be “The Force.” After all, according to Obi Wan Kenobi, The Force is “an energy field created by all living things. It surrounds us and penetrates us; it binds the galaxy together.” The genius of The Last Jedi is that it, not only calls into question what we know about The Force, but shows us that it is not the be-all-end-all of power in the galaxy. The ancient war that has been waging for decades across the saga, framed by a simple conflict between light and dark, just isn’t that simple after all. Which is a lesson Luke Skywalker, the legendary hero of the original trilogy, has had to learn the hard way.

What the new movies have done so well is thematically and narratively explore the lives of the old cast through the eyes of the new. 2015’s The Force Awakens did this through Han. Han Solo has always been the ultimate lone wolf, on the run from one thing or another. In Episode VII, we meet Finn and Rey, two people at a point in their lives where they are ready to escape and Han is the perfect spiritual guide. Throughout the movie Rey, ready for a father figure, bonds with Han and with his ship, the Millennium Falcon, which has been the ultimate getaway car throughout Star Wars cannon. Finn escapes his life as a Stormtrooper and is confronted with a decision to keep running or be a part of something bigger. There are so many parallels to what we know of Han’s story in both Finn and Rey. The Force Awakens was very much Han’s chapter. In the same way, The Last Jedi is Luke’s.

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Even in the final moments of Episode VII, there is a literal hand-off of the story taking place. Now if we’re going to explore the life of Luke Skywalker that means we have to explore The Force, the history of the Jedi, and the allure of the dark side. The Luke we meet in The Last Jedi is a failure. He tried to live up to his legend and lost control setting into motion many of the events of the new movies. He’s spent his time since absorbing all of the past mistakes of the Jedi, knowledge that brilliantly ties together the mythology of the prequels to the original trilogy. Back in 2015, I wrote about the failures of the Jedi order, but basically Luke has realized that the Jedi failed because of their own quest for power. At their peak, the Jedi assumed reign over the galaxy, but just when their power peaked, when they thought they had it locked down, they were vulnerable to manipulation, deceit, and were over thrown. This was the story of Episodes I-III.

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Into Luke’s despair and regret walks Rey pleading with him to be her mentor, to show her where she fits in the grand scheme of things. Really, what she is pleading for is exactly what the Jedi were supposed to be. It is very difficult to be defined by your power when you are actively trying to help someone become more powerful than you. At the end of The Force Awakens, Kylo Ren tells Rey she needs a teacher, a sentiment she repeats to Luke. She doesn’t need a Jedi knight to ride into battle, she needs a Jedi master. “We are what they grow beyond. That is the true burden of all masters.” I won’t tell you who says this to whom in The Last Jedi, but it might as well have been Jesus talking to his disciples or Barnabas talking to Paul.

Pastor Efrem Smith tweeted recently, “If Christians were meant to pursue political power at any cost, Christ wouldn’t have turned down Satan’s offers in the wilderness.” At the height of Jesus’ ministry, he gave up his life and at the height of his power, after resurrecting from the dead, he ascends into Heaven giving space for the apostles to lead. This has to be the example Barnabas was following when it came time to develop his apprentice, Paul. In Barnabas we have the man who vouched for the murderer Paul, the man who took that villain and trained him to be a Biblical hero, but to do all that he had to risk all of his power and eventually give it all away to Paul.

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This is also a lesson ace pilot Poe Dameron must learn in The Last Jedi. He has been flying by on his ability and skills for too long, and now must learn what it really means to lead the rebellion. Luckily, he is surrounded by resistance leaders who, just like Luke has learned his lessons about the Force, have learned their lessons about war. Without the legend of Luke Skywalker supplying hope to the resistance, Poe and Leia are racing against the clock to keep the rebellion alive. What is perhaps most heartbreaking about The Last Jedi is that, as Han’s story handed off to Luke at the end of Episode VII, Episode VIII, in so many ways, hands the story off to Leia and the resistance. This, however, is a chapter we will never totally see. The story of Princess Leia has ended off of the silver screen.

There are times in The Last Jedi where it feels like everyone is failing, and they are. The film reminds us, though, that failure is the greatest teacher. When we feel like we can’t fail, like the prequels’ Jedi order or Supreme Leader Snoke, or when we are afraid to fail, like Luke when he was training Ben Solo, we may have failed already. What does it look like to give your power away to the next generation? What does it look like to lay your life down in the ultimate resignation of your power? The answers to those questions are the ones Rey, Poe, and the resistance learn in The Last Jedi and will guide the saga into Episode IX.

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Men and women can’t be friends

“You realize of course that we could never be friends,” Harry says to Sally, slyly sneaking this disclaimer in to open the conversation of how sex always gets in the way of friendship. Possibly, he was just trying to work sex into the conversation any way he could. It is 1989, and Billy Crystal sits in Meg Ryan’s passenger seat painting a picture of gender relations past, present, future in the film When Harry Met Sally. It is a statement that, at the time, was describing gender relations in a post-sexual revolution era, but it also predicted how men and women would relate today in our world of app-based community and romance. Harry expresses his worldview in this context of two flirty college students, and it is charmingly funny, but when we look at where our churches are in the department of gender relations, it is nothing to smile about.

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As the millennial generation continues to put off getting married, we feel a larger and longer relational gap. To fill this void, many turn to positive, healthy friendships for belonging and community. Many more, though, participate in hook-up culture and online dating, where people of the opposite sex are commoditized. What is then created is an environment where relationships are defined by sex and isolation is created by the void of loving friendships.

The church might be feeling the fallout of this trend most. Recent research shows that because of this, women are making their exit. According to Barna Group, since 2003 the percentage of churchgoers that are female has dropped 12 points, and it is not because more men are coming in. Coupled with this, Barna also reports that only 17% of women feel like they are “very emotionally supported” in their church or synagogue.

I wonder if we trying at all to create environments where marriage isn’t the only priority in male-female relationships? But here we are, and I think our churches could be spaces where our current generation, which is relying heavily on friendship as their main source of affection and support, should find what they are looking for. This is not a quick and easy task. Even though community is a major priority in the church, our inability to form friendships between men and women can leave us like Ricky Bobby in his first interview, scrambling to figure out what to do with his hands. If something doesn’t change soon, if we do not find a way to encourage friendship among singles, thereby offering women the support they need, we could lose an essential component to representing the image of God in our places of worship.

Men and Women Need to Communicate

Sadly, our culture doesn’t stress communication and friendship between men and women. Sex and romance are the current language of male-female relationships. The current state of interpersonal communication is frightening. Reading through Parks & Recreation star Aziz Ansari’s book Modern Romance makes talking to the opposite sex seem like a myth, a rarely sighted animal that culturally never shows its face. Look at the narrative both men and women have been presented in popular movies and TV. Men are always the heroes, flying, swinging, or smashing in to save the day. This is true for the latest Marvel films, anyhow. The most recognized and powerful Marvel female leads, Gwyneth Paltrow’s Pepper Potts and Natalie Portman’s Jane Foster, weren’t even invited to the party in the latest installment of the Avengers franchise. Why would they come anyway? In a bloated, male-driven superhero movie they more than likely would have served as little more than scenery. They are excluded unless the narrative calls for romance.

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Looking for a positive narrative for women, let’s investigate Disney’s Frozen. In a lot of ways, the film has become a beacon of hope in the normal princess narrative because it is a female-driven story about sisterly love and triumphing over the societal pressure for women to hide who they are. Nevertheless, you won’t find positive inter-gender friendship-building in this most recent Disney flagship. It is reasonable that Anna lacks the skills to make friendships. Being locked in a kingdom her entire life could do that. But when she emerges from her isolated world, she falls for the very first man who catches her attention. Here is the problem with the majority of our princess narratives: The action begins when the man arrives and ends with the happily-ever-after wedding. There always has to be a love interest, right? Even the resourceful Tiana from Princess and the Frog and the courageous Mulan from Mulan have narratives revolving around a love interest. What made these women who they are? It wasn’t the men. Just once, wouldn’t it be nice if Kristoff and Anna stayed friends or Tiana opened her dream restaurant without being betrothed to Prince Naveen?

If we look at the narrative of Jesus’ life, though, we find that He didn’t think it necessary to have a love interest in order to have women around. Luke 8 tells a little bit of the account:

Soon afterward he went on through cities and villages, proclaiming and bringing the good news of the kingdom of God. And the twelve were with him, and also some women who had been healed of evil spirits and infirmities: Mary, called Magdalene, from whom seven demons had gone out, and Joanna, the wife of Chuza, Herod’s household manager, and Susanna, and many others, who provided for them out of their means.”

These women were diverse, faithful, and incredible. Perhaps what stands out at first glance is how they financially supported Jesus’ ministry. They were dedicated to the cause as well as the cross. They followed Jesus all the way to the end and beyond and no wonder! Look at Mary Magdalene. Think about the absolute torture her life consisted of before meeting Jesus. What a story she has to tell. Our author, Luke, is a great example for our churches to follow. His first few lines tell you how he was a meticulous recorder of the history of Jesus. Many believe as he was on his travels alongside Paul, gathering information for a complete record of this story, he collected manuscripts and conducted interviews, interviews in which the women in Jesus’s life and ministry were not left out. In fact, it is likely that he even interviewed Mary, mother of Jesus. Can you imagine that conversation? Luke hearing firsthand Mary’s incredible story of being visited by an angel and life never being the same again. Our biblical authors didn’t pass these women up, and it means our churches shouldn’t either.

Today, we have our first female NFL coach, the first female graduates of Army Ranger school, a U.S. women’s World Cup title, a female mayor bringing gangs to peace in Compton, and on and on and on. These are opportunities and contributions that we do not see in male-dominated cultures around the world. Where women are oppressed, the culture suffers.

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Why then does it seem that the church is still behind in this area? Can you imagine what stories the church is missing by not communicating well to the women in our midst? Jesus didn’t have women there alongside Him by accident; He thought it was necessary, and we’ve got to move beyond the romance narrative and have real conversations. Men and women need to seek each other out, talk face to face, and learn to ask good questions. You’d be surprised how infrequently women are asked, “What do you think about that?” Does the way we communicate with women in church communicate their value? Based on the Barna stats, it doesn’t sound like it. Our churches need to seek out women’s stories, talents, and opinions because they have great value.

Men and Women Need Borders Not Boundaries

Men and women in the church need to have more conversations and interactions if they are to lean on each other as friends. This is normally the point in the conversation when we talk about building up walls. Stories of professional athletes and pastors never going to lunch with women or riding in cars or elevators alone with them creates a sense of fear and confusion. Well get your trumpets ready, people, because we are walking around those walls and bringing them down.

For decades, male leaders in the church have lived by what is affectionately called, “The Billy Graham Rule.” It is said that the famous preacher and evangelist Billy Graham had a “rule” for his interactions with women. He would never be alone with a woman who was not his wife–not in a car, an elevator, or a meal. His thinking is that this is the best way to guard his marriage and his ministry. The fear is both internal and external. It is internal because it squashes a situation where temptation will abound. It is external because even the idea that a leader might be out alone with a woman could cause rumor, suspicion, or false accusations. This could be a valid fear for a church leader. But with one quick Bible app search, you’ll read what Jesus thinks about fear. Where is our trust in our sovereign Lord if fear is this severe in our churches? Also, what if these rigid boundaries are causing more harm than good?

In a recent article for Christianity Today’s Her.meneutics blog, Dr. Halee Gray Scott tells some of the horrors of creating strict boundaries in gender relations:

“As a researcher who focuses on female Christian leaders, I hear it over and over. The first female vice president of a Christian organization confessed she missed out on opportunities to advance her projects because the president made business decisions over lunch, and he promised his wife he wouldn’t eat lunch alone with women. It was enough to make her want to quit.”

Yes, it can cause a myriad of problems to be alone with someone of the opposite sex, but strict boundaries can shut people out of important, valuable ministry. Instead of creating giant walls in our relationships, what if we created helpful borders that can be moved and crossed when appropriate? We’ve got to find a balance and that may involve balancing our intentions. 

Men and Women Need the “Friend Zone”

Oh, the “friend zone,” a term so dreaded in our society that it spawned a Ryan Reynolds romantic comedy, Just Friends. But what if the friend zone is exactly what we need in our churches?

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The friend zone begins with creating flexible borders, not steel-reinforced boundaries. For example, let’s say we are never going to hug anyone of the opposite sex in our church. After all, physical touch alludes to romantic affection (and not everyone even likes being hugged). But is this the model Jesus presented to us? Jesus touched. Jesus hugged. Jesus embraced people of all walks of life. It is true that hugs can become inappropriate, but they can also be incredibly appropriate. One way to navigate this is to always ask if it’s ok to hug someone. This can be awkward and difficult, but abandoning all physical contact creates a world much like a 7th grade dance floor, with each gender on the opposite side clinging to the wall for dear life. The church is about unity not division. There is no exact science or standard you can set because everyone has different needs and feelings about things like physical touch, spending time alone with someone, and frequency of communication. We need to work through these spheres with individuals to create a space where people are heard and friendships can flourish. As with anything that isn’t clear cut, mistakes are bound to be made but our churches and our friend zones need to have grace and forgiveness built in.

It may also be necessary to redefine why we are in the church. The church should not be defined by the romance narrative of the culture. Can anyone point me to the scripture reference where it says that the church is there for you to find your mate? The church is God’s invention to equip His people and bless the world, to restore shalom to all areas of life. Finding your future spouse may be a result but it’s not the main idea. Let’s say God has called you to be married. How many people are you going to marry? So then, what happens with all of the other opposite gender relationships in your life? If you are currently married, making your spouse your only friend is a surefire way to put crippling pressure on them to be your only source for support. The God of the Bible is a God of community, and friendship is a gift God has given us.

When marriage becomes your main target for bonding with people of the opposite sex, then it’s difficult to build relationships, even friendships, that aren’t defined by sex in some way. This is exactly what Harry was talking about.

“This myth, then—the belief that sex wholly explains the depths of our most profound relationships—has led many of us in recent decades to feel suspicious of, uncertain about, and at times even ashamed of deep friendships and has hindered our search for closer and more fulfilling ones,” says Dr. Wesley Hill, a leading voice in the spiritual friendship movement. Creating the friend zone involves both genders meeting in that space with the motive to hear each other’s stories, provide love and support, and build a vibrant, diverse church community.

Men and Women Need Each Other

Creating churches where genders are constantly divided is an effective mode of making people lonely and isolated. Do you remember the book Men Are from Mars, Woman Are from Venus? However gimmicky the title may be, there is some truth to the idea that men and women are different. Sometimes it does feel like we might as well be from different planets, but we both come from the same image. We carry the image of God together as the human race, and we need each other to show that image to the world and to the people in our church.

In my role as a campus minister, I get to meet and work with too many women who come from a background where they never had a healthy relationship with their father and have never been shown love and respect in a dating relationship. In fact, many come to college having been used and degraded in almost every relationship in their lives. What if a woman like that comes into a church environment where she is treated like something to fear? What if she is treated only as the romantic interest of a greater narrative? She will never experience the image of a Father who will never use and abuse her. She will never experience the image of a brother who has her back. She may never have the space to build relationships that speak the Gospel into her life.

When creating our friend zone, we must be looking and thinking about people as friends first. It means our first thoughts about these people are how we can love and serve them and wondering how they will positively contribute to the Body of Christ. It means recognizing gifts and hearing stories. It means bringing our true selves into our churches and sharing that with others by communicating openly and honestly. We’ve got to navigate these waters with the intent to be Kingdom builders, to welcome people of any gender into our houses of worship to meet our servant King. It’s time for our churches to step up and prove Harry wrong. Men and women can be friends, and if we are going to help our churches flourish and truly reflect the image of God we, in fact, are called to be friends.

This article originally appeared in Christ & Pop Culture Magazine. (Edit 2017)

On the run with Baby Driver

What’s your favorite song? Sorry, that’s a vague question. What’s your go-to road trip song? How about your shower song? Do you have a song for rainy days? What do you listen to after a break up? Is there a song that makes you dance involuntarily? Music can serve so many of our emotional needs. It’s hard to imagine life without the songs we pull into our own personal soundtracks. Baby Driver, writer/director Edgar Wright’s new film, begs us to inspect our lists of go-to tracks and wonder what they tell us about how we see the world.

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For Baby, the title character in the film innocently played by Ansel Elgort, life is about escaping and there is no greater escape than music. The life pumped through his earbuds not only drowns out the tinnitus he acquired as a boy, but also pulls him out of the dangerous activities he’s being forced into. Baby has a face and a heart that fits his name but a life that’s filled with crime, drugs, and violence. This duality of morality pushes him into the songs in his many iPods to drown out the hum in is ears and the ringing of his conscience.

In his life of crime, is there a better profession for someone like Baby, constantly on the run from himself and others, than a getaway driver? In fact, Baby is the best getaway driver Atlanta has ever seen. The darkest day of his life happened in a car and as soon as he could see over the wheel (and learn how to steal cars) he made sure the driver’s seat would become his sanctuary. Somewhere along the line, Baby boosted the wrong car and found himself in serious debt with Doc, a notorious crime boss played by Kevin Spacey. Under Doc’s thumb, all Baby can do is listen to his music and drive. During the film, he pushes the pedal to the metal speeding closer and closer to freedom from what his life has become.

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It took Wright years to make this film because he broke many of the rules of traditional filmmaking. He assembled the soundtrack and wrote the scenes around the songs. Normally, movies are made the other way around…writing the scenes and then finding the music for them. It’s easier that way because you may not get licenses for the music. However, Wright had a vision and what a vision it was! He created a symphony with the world around Baby. Footsteps, car horns, tire squeals, sirens, screams, explosions, and gun shots sync to the beats placing the audience into Baby’s ears.

Anyone familiar with Wright’s other works (Shaun of the Dead, Scott Pilgrim vs. the World) will appreciate his attention to detail. The soundtrack to Baby Driver has the diversity of a Guardians of the Galaxy more than it does the Pitbull laden playlists of your typical cars and crime action romps. Like a deep track book of Psalms, the music takes you on a ride through just about every possible human emotion. It is the kind of soundtrack that proves no song can be your favorite for every occasion.

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Baby Driver asks you to take this ride through Baby’s shuffle to find out just what kind of person he is. Is he a victim of circumstance? Is he more of a willing participant than he lets on? Baby can’t escape these questions forever. Luckily, music isn’t just a method of escape but is also how Baby experiences and processes the world. The life Baby leads is so saturated with music that his steps are in time. The slow jams give him time to reflect on his crimes, the screeching guitar solos perfectly accompany his anger, the break-up songs help explore his trauma, and the love songs help him hope for a better tomorrow.

Our favorite tunes offer us the same invitation to allow the words, the notes, and the spirit move us through whatever we’re dealing with. Watching and listening to Baby Driver might give you some new songs for your playlists but hopefully it also helps you think about what you’re using as your guide of melodic self-reflection. This is one of those films we’ll study in film schools because of its spectacular craftsmanship. It captures the complexity of being human in a unique way. So don’t be surprised if it also helps you study yourself. What songs are you drawn to and when? What are you often working through? What are you escaping from? Sometimes you have to face your music.

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Baby Driver Psalms Companion

Looking to take a ride through human emotion? The Book of Psalms in the Bible is God’s ultimate playlist. Here are some of the themes pulled out of Baby Driver and a selection of Psalms to help guide you through them.

Who are we?

Psalm 8

Psalm 139

Break up

Psalm 147

Love

Psalm 136

Conviction

Psalm 51

Celebration

Psalm 148-150

Hope

Psalms 16

Psalm 23

Don’t be surprised by Wonder Woman

Let me describe a scene to you from the most recent Star Wars movie, Rogue One. Tell me if it feels familiar to you. The story’s lead Jyn Erso has agreed to help the Rebel Alliance gain access to her former mentor Saw Gerrera. They travel to Empire occupied Jedha, home to Gerrera and an ancient Jedi Temple. It’s not long before Erso and the rebels are caught up in scuffle, as Star Wars rebels tend to do. Erso is being led around the planet by rebel leader Cassian Andor. Andor has been carrying the weight of rebellion on his shoulder for years. He is constantly burdened by the safety of the mission and his team. There is a pride to this burden and this pride leads to my least favorite scene in the movie.

In the middle of the skirmish, Andor is leading Erso around a chaotic battlefield reminiscent of scenes of modern warfare we’re used to today. Naturally, Andor can’t possibly account for every danger around every corner and he and Erso get cornered by a squad of dreaded Stormtroopers. Looking at Andor you see the face of failure. They’re doomed, dead where they stand. Suddenly, Erso kicks into high gear and drops both the troopers and Andor’s jaw. He can’t believe Erso single-handedly dismantled the troopers. He can’t believe Erso, who is the mentee of the very accomplished rebel they were there to find, who had been providing for herself for the better part of a decade in a conflict-heavy galaxy, who he had rescued from a prison labor camp alongside other hardened criminals, who is the daughter of one of the greatest geniuses in the galaxy, could possibly have the skills to survive that situation. So why is Andor surprised?

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Andor is probably surprised because decades of film history have told him that whenever a woman fends for herself, its surprising. This is a feeling of surprise Han and Luke felt the minute Princess Leia grabbed a blaster and led them down the garbage shoot. So here we are, it’s 2017, and we have our first big-screen adaptation of the world’s most famous superheroine, Wonder Woman. Wonder Woman has been around for decades, and, in that time, has fought her way from the Justice League’s secretary to one of the busts carved into DC Comics’ Mount Rushmore alongside her fellow pop culture icons of Batman and Superman. One would hope that, as we’ve entered a moment in cinematic history where studios are ready to put women in the title role and in the director chair, we would stop being surprised by what women are capable of. One would hope…

Diana Prince aka Wonder Woman and her male companion, Stever Trevor, enter a dark London alley. They’re carrying crucial intelligence the British military needs to gain an advantage in World War I and are being pursued by undercover German soldiers. Just like Erso and Andor in the battle on Jehda, Trevor leads them into a corner. He doesn’t see a way out, and he’s burdened by a need to find a way out of this hopeless situation. A German gun goes off and Trevor knows the bullet’s for him. A “ping” familiar to Wonder Woman fans rings out as Prince stops the bullet with her signature cuffs. Trevor’s jaw drops. He’s surprised that Wonder Woman, the one who saved him from a plane crash, the one who he watched take out a dozen German soldiers in an earlier battle, a woman he learned is from an advanced race of Amazon warriors from a supernaturally hidden home world, could possibly be the solution to them surviving the ambush.

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Wonder Woman, as a film, is filled with breathtaking action scenes, charmingly fun banter between interesting characters, and some of the coolest, most memorable superhero moments committed to film. It belongs at the top of the list of DC’s most recent efforts and right alongside its Marvel Comics (Avengers, Iron Man, etc.) peers. As reviews for the film have been positive, and as Wonder Woman continues to be a cultural icon, my fear is that story that comes out of the box office this weekend will be headlined by surprise.

Wonder Woman will lead the box office in bouncing back from the lowest Memorial Day numbers in about a decade. Last week, two movies were released that were supposed to kick start the summer cinema season. Helmed by a juggernaut franchise and a human juggernaut in The Rock, Pirates of the Caribbean 5 and Baywatch were financial disappointments. They led the summer into a dark alley and had studios questioning if they’d survive. Here comes Wonder Woman to save the day.

Gal and Director

Wonder Woman herself, Gal Gadot, with director Patty Jenkins

We live in a world with Aja Brown, the mayor of Compton, who led successful peace negotiations between rival gangs the Bloods and the Crips. We live in a world with Ava DuVernay, acclaimed director who not only became the first female African America director to helm a $100 million budget movie with Disney’s A Wrinkle in Time but, also, created the wildly complex and riveting Queen Sugar, a show she intentionally hires up-and-coming female directors to lead. We live in a world with Aung San Suu Kyi, who was under house arrest for 15 years for her political activism before being elected to lead the Myanmar government. We live in a world with Supreme Court Justice Sonia Sotomayor, Olympic Judo Gold Medalist and sexual assault survivor/activist Kayla Harrison, activist for female education Malala, Facebook COO Sheryl Sandberg, and astronaut and engineer Ellen Ochoa. We live in a world where more women than men are graduating college. We even live in a world where even American Ninja Warrior has seen Jessie Graff break course records. There are women of wonder all around us.

The success of Wonder Woman shouldn’t be a surprise, and, hopefully, will send a clear message that we’re ready for more. Just recently, Academy Award winning actress Jessica Chastain, while serving on the Canne Film Festival jury, commented on the current climate of female representation in film, “It was quite disturbing to me, to be honest.” For this to change, our view of what women are capable of has to change. We have to believe women can lead brilliant, complex and compelling stories because they live those stories every day.

We’ve come a long way and Wonder Woman might be the beginning of something great. Her character, like the women of the world, has fought for her place on the marquee. We have forced women to fight for their place at the voting booth, in the classroom, in the lab, on the hill, in the battlefield, at the finish line, and in the conference room. Women will continue to fight, so when will men stop being surprised when they can fight better than us?

Justice League

Getting the most out of “Get Out”

As a professional wrestling fan, I have been a participant in more than a few raucous wrestling crowds. The average pro wrestling crowd is a true cross section of America and, through years of observing the art form, I’ve come to recognize what kind of storytelling earns those crowd reactions. There are certain veins of the human experience wrestling easily taps into. Think about the saga of Stone Cold Steve Austin, the blue collar, unfiltered every-man, and his billionaire nemesis, Mr. McMahon.

The beats of this story were familiar to a wide audience. Who hasn’t had a bad experience with a boss? Who hasn’t felt bullied by someone to the breaking point? For months and months at a time Mr. McMahon would use his vast resources to keep Austin under his thumb. Then in the big matches…Austin would have his day and the crowd would go wild! The performers take the emotional stress and trauma many have experienced and supply a release of that pressure. When Austin punches McMahon, we all get the feeling of punching the evils in our life we can only dream of fighting back. It’s exhilarating and therapeutic. I love a good crowd reaction, but when similar cheers rang out from the audience at my viewing of Get Out, I couldn’t help but feel heartbreak.

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Get Out is a horror movie, written and directed by comedian Jordan Peele (Key & Peele). I’m no stranger to the horror genre so it’s easy for me to recognize the familiar tropes. What Peele does so beautifully is turn those tropes on their head and showcase the horror of the everyday experience of many people of color. Take away the wild twists, turns, and horror violence of the movie and there is still plenty of tension and horror. “[It] was to say there’s a monster lurking underneath this country. And even though you don’t always see it, it’s there, and a lot of us know it’s there,” Peele told Ebony magazine of the film’s real monster, racism.

Naturally, when the topic of race is approached in any medium, a flood of political backlash soon follows and this has already been the case with this movie. Get Out’s perfect 100% Rotten Tomatoes score was tarnished by a review from a right leaning website, a review that not only gets simple details wrong, it incorrectly categorizes the film as a comedy saying it doesn’t stand up against “classic” comedies such as the critical and financial flop Norbit. What is particularly difficult about reviews like this, is that, by reacting far too quickly and harshly, it misses the heart of what Get Out is saying.

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The story isn’t asking for political action. It’s not asking for widespread, big government intervention into issues of race. It’s not asking for the impeachment of the current president. It’s the cries of a biracial artist in America, from his celebrity platform, pleading for the majority culture to listen and immerse themselves in the horrors of everyday life for the minority. My viewing was so heartbreaking because it was clear this was the experience of many of the people I shared a theater with. Their cheers at the film’s climax were voices joining in to the cries of the filmmaker.

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Get Out is a gift, it’s a window into the life of our fellow human. My prayer is that viewers might be able to listen to the cries, to fight back the initial urge to react, and join in on the experience. While the film isn’t asking for political action, it is asking for the feelings and experiences of people of color in America to be validated. You might not immediately understand what is going on in every scene, but what an invitation to ask why you don’t or to see the movie with a friend of color. “That’s the nicest thing you can hear from a white person sometimes: ‘I don’t know,’” Get Out star Daniel Kaluuya told Vulture.

As much as this film is fun to examine (there are tons of small details pointing to the history of race in our country), Peele is also asking you to examine your reaction to each scene, particularly throughout the final act. This herculean, first-time directing effort manages to cover incredible ground touching on relationships between races, genders, cultures, and within races, genders, and cultures. Sometimes the movie features humor you’d expect from Peele while at other times it features situations akin to academic studies on race. The narrative you enter with Get Out is complicated but so is experiencing its themes in the everyday.

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“When I watched it, I was like, ‘This is how racism feels.’ You get really paranoid, and you internalize it, and you get really weird around people that are close to you, and you don’t understand it. You don’t know if you’ve got the right to be angry, and then it all goes f****** ape sh**, because you have this release of rage, because you’re not around people that you can talk about it with. The rage suits the genre. Like I said, there’s nothing more horrifying in life than racism,” Kaluuya says later in the Vulture interview.

If you are willing to ask some hard questions of the film and yourself, here are some I’d offer. *SPOILER WARNING* Some of these questions carry mild spoilers for the film.

– Rose’s father says a lot during the tour of the house…his relative was defeated by Jesse Owens, he would have voted for Obama for a third term, he feels bad about having people of color as servants…why might any or all of these situations make Chris uncomfortable?

– Even though the party scene is exaggerated, do you believe people of color often encounter conversations like these in real life (ex: a woman asks Rose if “being” with a black guy is better)?

– Once it’s revealed what is really going on at the Armitage home, what does it say about views of the black body through history? Have you or anyone you’ve known ever harbored anger or jealousy of the physical abilities of a person of color?

– Once it is revealed what is going on with Georgina and Walter, what does that tell you about the awkwardness of the interactions between them and Chris previously in the film? Why were these interactions so awkward?

– By the end of the movie you might realize there is actually more going on in the scene with the police officer at the beginning. Why might Rose have so adamantly jumped to Chris’s defense?

– Have you ever watched a slasher or horror movie before? They often feature a white female protagonist. Was your experience with the final villain showdowns in those movies the same or different than with Get Out? Particularly, when Chris has the film’s final villain in his grasp, do you feel differently than you might if the roles were reversed? Why?

This is a rated R film, so you may also want to take that into consideration before watching it.