Defending Donnie Darko

 Not that this gem needs defending.  Donnie Darko is one of my all-time favorite movies and may be, perhaps, the one movie I’ve watched most often (at least as an adult).  Indeed, one of the first activities Beggars Table did as a church was watch this movie together as a “film discussion” night.  By the way, Donnie Darko is playing this Friday on the roof of the downtown library…an absolute must.  

The reason I am “defending” DD is because after my brother-in-law watched it with me while visiting this summer, he smugly suggested that the movie simply seemed like the product of some kid’s whim and nothing more than another exercise in style over substance (a bifurcation I don’t believe in, by the way).  Please understand, I have the highest regard for my brother-in-law and respect his opinion greatly (except in sports – where he personifies my mortal enemy – an avid Yankee and Tar Heel fan).  His reaction to this revered movie, however, merits a response, and I can think of no better time than as I prepare and look forward to seeing it for perhaps the eleventh time on the roof of the downtown library Friday night.

One of the joys of Donnie Darko is that it’s open to interpretation and can be viewed through a wide array of lenses (this is perhaps why it lends itself so easily to repeated viewings).  I have finally identified one of the lenses through which I often watch this move and one of the reason I love it so.  I see Donnie Darko (the character) as embodying the essence of the prophet, i.e. the “Truth Teller”.  

In the alternative universe in which Donnie finds himself he is engulfed with a calling.  Of course this calling is to “save the world”, but the way in which he goes about doing this is most curious.  He is, more or less, laden with the responsibility to tell and expose truth.  Donnie’s truth telling permeates almost every scene, whether he’s confronting the ignorant school system, exposing a child-porn ring, or even when pontificating about the Smurfs.  I believe the movie is particularly poignant in conveying the burden and sadness that often accompanies the role of prophet.  Speaking truth to the culture inherently places the truth-teller outside of the culture and in a position of great scrutiny.  Who is this person who dares to speak the truth?  The overwhelming consensus is he must be crazy.  Thus Donnie Darko finds himself on medication and regularly seeing a psychologist who regularly uses hypnotherapy, etc.  The beauty of it – Donnie himself isn’t even sure that he’s not crazy.  Yet he faithfully continues to do what he can’t help but do – expose lies and falseness in the surrounding culture – at the expense of his own sanity, reputation, and social standing.  

Just one interpretation of this brilliant movie.  I’ll be at the library Friday night – hope to see you there (my brother-in-law is invited because in our country, everyone deserves a second chance).

I feel Farrah’s loss more…

Is it just me or does it seem like Farrah’s death is somewhat lost in the media buzz surrounding Michael Jackson? I realize Michael is the “King of Pop” (whatever that means), but I feel inclined to publicly state that between the two of them, Farrah Fawcett meant much more to me.  I never liked Michael Jackson as an artist.  That’s a huge statement considering I was in high school when the Thriller video was first released.  I can honestly state, however, that I always considered Michael a bit cheezy, and his music always reminded me more of show tunes than anything resembling rock & roll.

Farrah, however…

I remember telling the kids in my Indian Creek Elementary School cafeteria that Farrah Fawcett and Lee Majors bought a house in my neighborhood – it was the closest form of intimacy my pre-puberty imagination would allow me to have with her.  From posters on my 6th grade wall to anticipating new episodes of Charlie’s Angels, Farrah Fawcett played a significant – if minor – role in shaping my adolescent self…for better or worse.

Bond is Back?

In light of the dvd release of Quantum of Solace I would like to take up a conversation that securely places me in nerdom but, nevertheless, keeps me up at night.  As a James Bond fan and enthusiast, I am somewhat conflicted about the direction of the latest Bond films.  I’m not suggesting any conclusions – I’m just taking the opportunity to voice thoughts and invite further discussion.  

In general, I’m sympathetic with the need to reinvent, and I’m aware of the dangers involved in formulas becoming stale and irrelevant.  Although I have a stubbornly conservative streak regarding change, I acknowledge that reinvention was probably needed (on some level) for the Bond series to maintain relevancy in a post 9/11 culture.  Truly, I applaud the efforts of reinvention.

Having said that, the Bond formula has always been one of the things I love about Bond movies.  Whereas usually I am somewhat repulsed by anything formulaic, in Bond moves the formula has always been strangely attractive.  The familiarity – knowing the rhythm – anticipating the one liners – visiting familiar characters – even knowing how it all ends before it begins – is like a kind of warm sanctuary for me.  I detest predictability in other movies, but Bond movies have always been the exception.  Indeed, it’s part of their lure.  

So perhaps the question is this: have the new Daniel Craig films effectively reinvented Bond to make him more relevent while maintaining enough of the old school/proven formula so that they’re still recognizable as Bond films?  

I have to say – I’m not sure.  

Thank God they haven’t done away with opening scenes that lead into traditional credit sequence set to pop theme songs.  Illiminating that would be heresy.  Thank goodness there’s still M (although I miss Q).    

Admitting that it may sound trivial, I have to say – I hate the fact that the movies don’t open with the traditional “dot”/gun barrel scooting across the screen to the classic James Bond theme.  I’m somewhat scandalized that’s missing.  It almost seems arrogant to remove it.  I know the last movie showed the dot at the end – but whatever – don’t throw me a bone…

I miss the Bond music/theme interwoven throughout the film.

I also miss the fun.  Don’t get me wrong – like any real Bond fan I cringe at Roger Moore silliness, and I totally appreciate a serious tone to the movies, but…

I watched From Russia With Love last weekend (for probably the tenth time), and I realized that even when Connery was at his best there was still a lot of tongue in cheek humor and a spirit of frivolity in the films.  Is it good to have a Bond that’s sooooo melancholy?  

Perhaps relevant to the conversation: I think it’s interesting to re-evaluate Pierce Brosnan’s Bond and observe how it stands the test of time.  I remember how enthused the public was for his turn as Bond, and it’s curious how quickly his movies have become rather irrelevant and dismissible.  Perhaps one reason for this is that Brosnan’s movies were religiously true to the old school Bond formula.  They didn’t just tip the hat to Bond’s heritage, they revelled in it (examples: Bond’s flirting with Moneypenney went from subtle fun to way over the top sexual innuendos, Bond’s gadgetry stretched the imagination farther than the healthiest imagination can be stretched – invisible cars for crying out loud, etc).  

Perhaps Brosnan’s movies make the biggest argument for the need of and goodness of reinvention.

Top Five Movies of ‘08

Now that the Awards are over I can reveal the true five best pictures of the year.  Actually, I promote these films as simply my favorites – not necessarily “the best” (a much more difficult and unreasonable stance to defend).  

 

Number Five:

WALL-E

It’s hardly fair to refer to this wonderful film as merely a “kid’s movie”.  Indeed, Pixar’s annual summer offering was not only up to their usual standards, it was perhaps the best animated movie I’ve ever seen.  Wall-e was beautiful, heart-warming, and provocative – a sermon in and of itself.  Pixar’s redemptive messages continue to be more and more poignant – responsible and seamless faith indeed.  

 

Number Four:

The Curious Case of Benjamin Button

What I find to be the most curious case about Benjamin Button is how vastly underrated this movie has become in the popular imagination.  Yes, it’s long – but since when has that been a bad thing?  This movie is remarkable to watch for more reasons than just the extraordinary make-up and special effects.  It’s truly a quite beautiful film.  Although I hesitate to admit it, watching this movie was a rather emotional experience for me.  I think it’s because, at its core, Benjamin Button is about the passage of time, and when this theme is explored thoughtfully and through the lens of loneliness, loss, and isolation it often proves to be very powerful.  Comparisons to Forrest Gump are appropriate, but I found this more  affecting simply because – unlike Hank’s Gump – Benjamin Button was fully aware of just how lonely he was.  Speaking of underrated – Brad Pitt is an excellent actor who’s credibility seems to suffer from his tabloid popularity.  This was not an easy role to play and Pitt was fully deserving of an Oscar.  

 

Number Three:

Let The Right One In

 

Oh Yeah.  I don’t expect everyone to understand this, but I love vampire stories (good ones…).  Suffice it to say, I’ve been waiting for this movie my whole life.  I was so jazzed after seeing it I couldn’t go to sleep.  A great movie to provoke conversation – there’s more going on here than meets the eye.  It’s not quite fitting to simply call this a “horror” film – it’s so much more.  Unlike the sloppy helping of cheap thrills usually offered by this genre, Let the Right One In is driven by characters providing, among other things, a challenging metaphor for adolescent coming of age.  See it.  In a dark room.  

 

Number Two:

Frost/Nixon

 

The best of the nominated films this year yet the least sexy one to see.  Regrettably unnoticed, this movie is about so much more than just an interview with former President Richard Nixon.  It’s about conscience and the consequences of a broken one.  Ron Howard successfully makes a movie revolving around an interview exciting.  Again, the key factor is the amazing characters driving the action and Frank Langella portrays the most human and believable Nixon I’ve ever seen in film.  The most under-appreciated talent involved, however, is Michael Sheen’s brilliant portrayal of David Frost – a man equally desperate to find his own redemption.     

 

Number One:

In Bruges

 

This is a movie of many dimensions.  A deft crime thriller that creates characters capable of breaking your heart.  I am a huge fan of witty dialogue, dark comedy, and crime thriller mixes, and I haven’t seen many that do it better.  In Bruges truly took me to a place I’d never been (who has seen this movie and not wanted to travel to Bruges?), told a fresh story I had never heard, and introduced me to novel and quirky characters I’d never met.  Quite an accomplishment.  

 

 

 

 

Top 10 of ‘08 – #’s 10-6

With the pending Academy Awards show I thought it was time to reveal the true “best pictures” of last year.  Below are the bottom five of my top ten.  The top five will be revealed next week (I know you can’t wait).  Admittedly, I haven’t seen all the movies I want to from ‘08 (“Nick and Nora’s Infinite Playlist” and “Man on Wire” are on my queue), but I feel confident with this offering…

Number 10:

The Wrestler

This movie has grown on me.  When I first saw it I thought Aronofsky’s intense style and indie vibe made a rather trite and formulaic story seem slightly more important than it really was.  It stuck with me, however, and when my friend Chris helped my latent imagination by pointing out a metaphorical lens through which to view the film, it completely altered my thinking.  (Mickey Rourke = 80’s America/Evan Rachel Wood = The American Conscience).  I’ve also been a fan of Mickey Rourke for decades (ever since Angel Heart and The Pope of Greenwich Village), and it’s gratifying to see him get some recognition as a top shelf actor.  

By the way, my theory of who Marisa Tomei’s character is metaphorically – the American Church…

 

Number 9: 

Pineapple Express

I love it when I walk out of a movie thinking, “I’ve never seen that before”.  Although this film isn’t for all tastes, it’s clever, funny, and amazingly unique.  I felt like I was watching Freaks and Geeks directed by Quentin Tarantino.  It’s also significant to mention that this is perhaps the most overt “bro-mance” ever filmed, thus being a quintessential “guys movie” – don’t watch it on a date night.  

 

Number 8:

Slumdog Millionaire

Make no mistake – despite this film’s gritty depiction of poverty and destitution, it’s pure unadulterated fairy tale.  What a revelatory combination!  Who would have thought framing a completely unrealistic feel-good romance in the context of thoroughly realistic and eye-opening impoverishment would work so well?  Yet it’s within this novel fusion that Slumdog Millionaire finds its extraordinary power to capture the imagination.  There’s an inherent desire in all of us for things to be “put right”.  What better way to express our innate longing for justice than to root for Jamal to win the money and get the girl?

 

Number 7:

The Dark Knight

Going to the theater on opening weekend to see The Dark Knight this summer felt like an event.  You could feel a contagious energy and excitement.  This is a rare instance, however, when the hype surrounding a movie is pretty much justified.  Although it generates tension with my seven year old son, I love the fact that Nolan has made a super hero movie that I can’t take my children to.  Please understand, it’s not that I don’t like going to movies with my children, but it’s that I have always thought (as crazy as it may sound) that super heroes have the potential to provide fodder for very complex and adult imaginations.    

Greatest Super Hero movie ever?  It’s hard to say (I still love Spiderman 2), but is it the greatest Batman movie ever made?  Definitely – and that’s saying something.  

 

Number 6:

Transsiberian

A thoughtful character-driven thriller.  In other words, the kind of movie that is all too rare in our current cinematic landscape.  When I saw this I knew I was experiencing a treat that I wouldn’t necessarily experience again for quite awhile.  I was “on the edge of my seat” but not from clever manipulation – I cared about these people and what happened to them.  Extraordinary.

 

My top five of last year to come next week…

Top Three Christmas Movies…

As a father of a a six and seven year old, the majority of my Christmas television watching is occupied with countless kid’s Christmas specials.  Not that I have anything against Rudolph and The Grinch, but one of my favorite things to do during this season is watch my favorite Christmas movies.  

Question: what are your top three Christmas movies of all time?    

                                                                          

Mine: 

1. It’s a Wonderful Life
2. Going My Way
3. A Christmas Story

Finishing off the Top 10

What a dry season for movies.  Looking through the paper the best choice seems to be some flick called “Drillbit Taylor.”  It’s definitely not the time to slap down hard earned cash for viewing entertainment.

I thought I’d contribute to the redemption of this season by finishing off my top ten movies of last year.  I previously posted my top five movies, and now I proudly present my next five (6-10) in an effort to offer suggestions on your next netflix or Blockbuster run. 

Without further delay, here they are:

Six:

The Lookout

Amazing character study in the context of a first-rate crime thriller.  Note of interest – the film is set in KC.  Although not actually filmed here (it’s shot in Canada – go figure) it manages to capture a relatively accurate feel of our city.  What do you think?

Seven:

Black Snake Moan 

A poignant morality tale with a twist.  A powerful and truthful message told through metaphor and fable.  I saw this on a night when I really wanted to “get away” for awhile.  It worked.  Another film, however, that I feel obligated to put up the conscience warning for.

Eight:

The Hoax

Richard Gere in perhaps one of his greatest (although little known) movies.  I love it when stories present criminals who are amazingly sympathetic.  This is a well-crafted and intelligent thriller. 

Nine:

Sunshine

If only all science fiction movies were this good.  Eerie, believable, suspenseful, and beautiful.  Amazing movie.

Ten:

Ratatouille

Talk about truth in film.  This movie – besides being fun to look at and incredibly entertaining – blatantly talks about what it means to be human using words like “ought” “is” “can” and “will”.  Sound familiar to anyone?… 

My Top Five Movies of 2007

First:

No Country For Old Men

What a powerful and skillfully made film.  Anyone who’s seen this understands why it won Best Picture and (even more prestigious) why it tops my list. 

Second:

Into The Wild

Pretty much snubbed by the Academy, Into The Wild is innovative film making and master story telling.  This movie made me feel deeply and that’s what matters most. 

Third:

Zodiac

If you look up the word “forgotten” in the dictionary you’ll find this movie.  As I watched Zodiac I realized I hadn’t seen a crime thriller this investigative and intelligent in years.  It provides a powerful image of the fallen world in more ways than one.  Yes, the fall is reflected in the tragic murders themselves, but it’s also reflected – perhaps more potently – in the endless bureaucracy, toil, and red-tape that doesn’t allow anything to get done.  Moving.

Fourth:

The Assination of Jesse James by the Coward Robert Ford

Dark, brooding, and beautiful.  Andrew Dominik proves that the western can still be fresh and relevant.  It is long – I wish it was longer.

Fifth:

Before the Devil Knows You’re Dead

The movie works on so many levels.  A first-rate crime thriller (so hard to find anymore), a superb character study, and a wonderfully insightful commentary on human nature and the loss of conscience.  Powerful.

No Country Rules

Not very often does my favorite film of the year also win “best picture” at the Awards – but this year the Academy got it right.

No Country for Old Men – I want to see it again – anyone want to go?

God, the Academy Awards, and Ranking Art

In light of the upcoming ceremony I think it’s a great time to pick up the conversation about ranking art.  Here’s a theological bend to the whole thing…

I know it’s extremely popular and safe to simply claim that “beauty is in the eye of the beholder” and there is nothing called good art; only what you like and I like, etc.  But how does this speak into our theology?

If we believe that God is a good God, and we believe that he created/creates everything – indeed, if we hold to the timeless doctrines that point to God as the originator of beauty itself – then isn’t it not only fair, but right to claim that some art is, in fact, good and some – regardless of whether we like it or not – bad?  Isn’t the goodness and beauty of God  reflected in art and doesn’t that art deserve to be called “good”?  By the same token, isn’t the fall also reflected in art (or attempts at art) and deserve to be called “bad”? 

Here’s an example of how I view bad art (note – not the typical evangelical view that if it contains cussing and sex it’s “bad” and not reflective of God.  If this were the case the Bible itself - a violent and sexual book – would be ”bad” and not reflective of God).  We often speak of sin as being characterized as “easy”.  In other words, sinful acts are often acts that aspire to attain something good, but in an easy way by taking cheap short cuts.  It’s worth dialoguing if music, movies, books, and paintings are “bad” if they rely on tricks, shortcuts, cheap techniques, and stunts to achieve their appeal. 

All this to say, I believe ranking art can be an extremely redemptive conversation if handled well. 

By the way – as usual, the Academy is wrong about most of the movies.  I’ll give you the right five best movies next week.