Matt's Movie Blog

Thursday, May 18, 2006

The Da Vinci Controversy

Worldwide protests. A boycott called by the Vatican. Mainstream media coverage on all outlets. A book at #2 and #15 on Amazon.com’s Top Selling Books. And maybe the most anticipated film of the year.

Gee, I wish people got this riled up about... I don’t know... human rights or something…

I thought I'd throw my two cents into the debate about The Da Vinci Code, as much to sort out my own thoughts as for anyone else's benefit. If you've any interest, keep reading.

Now, I’m not a religious person. I haven’t been to church since I was about six. As such, I feel like I’ve had the opportunity to get a fairly objective look at religion. I have nothing against organized religion – for those who find something rewarding in their faith, it is a phenomenal and blissful institute. The problem arises when people can’t see beyond their particular faith. There are people who can’t fathom the possibility that they could be wrong, or something might not be exactly as their faith has presented it. I have a friend who got very, very offended and upset during a discussion about Ash Wednesday and Lent, because I brought some form of practicality into the discussion (it also may have been referring to Easter as “Zombie Jesus Day”… I don’t think that went over too well). She is religious, and vehemently defends her religion, but has one up on the people who are all riled up over this book and film: she can identify and separate fiction from fact.

I am all about people’s rights to open voice their concerns about religious freedom and defending their religions. Everyone has the absolute right to believe what they want, and not to allow people to destroy that – one of the reasons I find it amusing that the Catholic Church is so vocal about the offenses in this material, but I’ll get to that later. But what’s happening here is not defensive, because the church is not under attack. Just as the recoveries of the Gnostic Gospels and the newly found Gospel of Judas provide a different look at the time period of the New Testament, The Da Vinci Code provides another side to a familiar story – one people can choose to accept, as they do the New Testament, or ignore. In an age of buffet belief – choose the denomination that most closely represents your personal beliefs – a fiction novel written by someone other than a religious scholar should be completely easy for the church to dismiss. How can the text your faith is based on – The Bible, allegedly a written account of the teachings of your faith’s founder and prophet – be outdone and dethroned by a work of fiction written by a former songwriter and college professor? If this is a significant threat to the church and its doctrine, I would suggest it is less a problem with the novel, and more a problem with the church.

Based on the book’s popularity, there must be something in the stories of the book and film that provides something audiences are missing. The church’s sudden defensive strikes me as an admission that it is something missing from the religious quadrant of life. For that, we’d have to examine what the book has to offer a reader.

I’ve read The Da Vinci Code twice. I’ve also read all three of Dan Brown’s other mystery thrillers at least once. There is more or less one thing Dan Brown has going for him. It’s not the writing, or the characters, or the continuity in plot. It’s the story. Dan Brown is an incredible storyteller. A huge number of the situations Brown presents in The Da Vinci Code (or Angels & Demons, Deception Point or Digital Fortress) are laughable in their believability. They are downright ridiculous. But he tells them in such a way that keeps you reading. You want to know what happens. It’s a natural knack for stringing together events that has gotten Brown as far as he has. And considering that the bases for Catholicism in the modern age are stories… I suppose that is something the Vatican might perceive as threatening.

The church has a long history of squashing opposition, dating back to the assimilation of pagans by the Roman Empire. Some of that is detailed in The Da Vinci Code, which prompts me to be wary of the facts, but this is information found in any history text as well. The only difference is the alleged reason for some of these holy wars and crusades. Given that, steamrolling over a mere book and Hollywood film would be an easy task if they really wanted to. The fact is that the outrage over The Da Vinci Code will do both the book and the church good, and not harm either of them. For the book and film, it’s free publicity and a controversy that will get butts in the seats as people want to find out if it was really worth all the fuss. For the church, it’s a call to arms that serves as a reaffirmation of faith, faith that has been waning due to financial problems in many places (Boston in particular), due in no small part to settlements with the victims of sexual abuse by priests – something else that has reflected poorly on the church and made parishioners question the practices and morals of the ancient organization.

In the end, ironically, it comes down to a matter of faith. If The Da Vinci Code is enough to shake your faith and question something, maybe there’s something to consider there. But don’t look to that work of fiction for answers. Look to yourself and to your church, and if you find questions there that the church cannot answer or that faith cannot satisfy, perhaps it is time for a new direction. On the other hand, if you are strong enough in your faith that you can dismiss this book as fiction – or even better, recognize that the presented ideas have some merit and can assimilate the possibilities into your belief system – do so and move on. I fear the people who are most outraged by these topics are insecure people in the first situation who are not ready to admit that yet.

So go see the film if it strikes your interest. For the rest of you, why ruin our fun? It’s probably not even that good anyway.

Wednesday, May 17, 2006

Poseidon

Seen 13 May; Comcast IMAX 3D Theatre at Jordan's Furniture (Reading, MA)
* * * (out of 5)

I have to respect a film that knows its direction precisely, whether or not I agree with that direction. It is very apparent that Wolfgang Petersen set out to make a disaster film with awesome set pieces and sequences of destruction, and after that, well, what happens is what happens. His focus was clear, and in that respect, Poseidon skillfully accomplishes what it strives for, but doesn’t make an attempt to go far beyond that.

On a New Year’s Eve sailing of the mega-luxury liner Poseidon, a party is in full swing with the guests in various states of celebration. Former NYC mayor Robert Ramsey (Kurt Russell), Dylan Johns (Josh Lucas) and “Lucky” Larry (Kevin Dillon) are in a snippy game of high-stakes poker; Robert’s daughter Jennifer (Emmy Rossum) is celebrating her engagement with her new fiancé, Christian (Mike Vogel); Maggie James (Jacinda Barrett) and her son Conor are enjoying the benefits of the captain’s table. Less jovial, Richard Nelson (Richard Dreyfuss) is contemplating suicide after being stood up by his partner, and stowaway Elena (Mía Maestro) is getting antsy in the crew quarters of the chef who let her on the ship. All these moods change when a ‘rogue wave’ strikes and capsizes the massive ship sending everyone into a frenzy. All the above decide they’re not ready to stay in the ballroom and wait for death, so they begin the difficult and dangerous climb up to the bottom of the ship in hopes of being rescued.

And that’s just about as much as you’ll ever learn about the characters in Poseidon. There are no surprises, no revelations or advancements of character. After the first twenty minutes, it is simply a race against time with a couple of different character types, and the audience placing bets about who will survive and who will not.

Read the rest at HBS!

Tuesday, May 16, 2006

Mission: Impossible III

Seen May 6, 2006 - AMC Fenway #13
* * * * (out of 5)


Ignore the ridiculous amount of negative press Tom Cruise has recently garnered. Ignore his ego. Ignore the less-than-stellar opening weekend. Ignore people that can’t separate real life from the film world. Go see this film. Regardless of whatever reservations you have about any aspect of the production, the opening sequence to Mission: Impossible III negates all that by grabbing you by the neck and throttling you for three minutes just to make sure it has your attention, and makes sure it doesn’t lose it for the rest of the film.

Make no mistake, this is the epitome of a commercial blockbuster, and producer/actor/Supreme Master Cruise doesn’t really allow anyone else the chance to take the film away from him, but if you can do something well… for an hour and a half, I had a fantastic time in a movie theater, and for this kind of film that is what matters the most.Ethan Hunt (Cruise), superhuman ultraspy, has settled down. Now, he only trains the crazies-with-a-death-wish that work for the Impossible Mission Force, and lets them do the dirty work. He’s even getting married to a sweet, gorgeous nurse named Julia (Michelle Monaghan) who has no idea what he actually does for a living. So when the call comes in that IMF needs him to go into the field to save one of his former students (Keri Russell) from Owen Davian, a sociopathic evil arms dealer (Philip Seymour Hoffman), he says, “Thanks but no thanks,” right? Ha. No, Hunt goes barreling balls first into danger, and lo and behold, captures said evil bastard in a job well done. And then shit hits the fan. Seems Mr. Davian is a little more connected than Hunt or the IMF anticipated, and Davian escapes, determined to wreak havoc on Hunt while pursuing the “Rabbit’s Foot,” a doomsday device with enormous destructive power.

This sounds pretty typical, I know. It is, but in truth that places M:I-3 on solid middle ground between the first two films – the plot of the first film was near-incomprehensible without careful analysis, and the second was laughable and impossibly silly. This time around, the film is actually mostly believable, due in no small part to J.J. Abrams and his writing team, many of whom worked with him on “Alias.” I’m told it shows, as the film follows much of the same pattern as many episodes of Abrams’s show – start with the hero in peril, flash back to how that happened, then work up to the present and find some resolution. It’s simple, but it works very well for one reason. Abrams’s opening sequence is perfectly brilliant. In the three minutes before the opening credits, audiences will connect instantly with Hunt in a way they never did in the first two films, and Davian is immediately established as a force with which to be reckoned. It sucked me into the film like no other I can remember. By the time the title credits rolled, I was hooked, as was my girlfriend, who had been entirely skeptical about seeing the film at all.

Read the rest at HBS!

Wednesday, May 03, 2006

Silent Hill

Seen Saturday, April 29; AMC Boston Common #1
* * (out of 5)

I wanted this to be good. Knowing that director Christophe Gans was behind the project, combined with some of the real messed-up images that were coming out on the Web, I had some hope that this would be the project that would break the video game adaptation slum. It’s not.

“Blame” is a hard thing to throw around in this case – it seems like when a film is good, you can pinpoint who was particularly good within it. When a film is bad, you can sometimes sort out who was really bad, who did the best they could with what they were given, and who actually manages to shine through. Here, we have all three.

Silent Hill focuses on Rose Da Silva (Radha Mitchell), the adopted mother of Sharon (Jodelle Ferland). For as long as she has been with the Da Silva’s, Sharon has had periodic fits of sleepwalking and talking, screaming the words “Silent Hill” in her frenzy. Desperate to solve this problem, Rose takes Sharon to the ghost town of Silent Hill, where fires burning in abandoned underground coal mines have left the town empty. In her haste to get there, Rose attracts the attention of badass-cop-in-leather Cybil Bennett (Laurie Holden), who follows her into town. Both vehicles get in accidents, rendering the people involved unconscious. When they awake, they find themselves in a world enveloped by fog and ash, and they quickly discover that any route or connection to the rest of the world has been severed. To top it all off, Sharon has vanished into the destruction that is the ruins of Silent Hill. Naturally, Rose goes after her, with Cybil in pursuit, and hilarity ensues.

Well, not really. The primary thing that Silent Hill does do very well is disturb you. There are some true moments where you’ll look at the screen and say, “Damn… that’s fucked up. I probably would have been happier never seeing that.” These come in the form of monster design and execution, as well as putting vulnerable characters in situations that you as a viewer will not want to see them in – keep an eye out for the line, “Look at me – I’m burning.” Some of the visuals are truly astounding and fantastically implemented. I also like that he doesn’t shoot for horror moments here by having something terrible pop onscreen out of no where. He starts it with some foreboding music to build the tension, shows some reactions, and then plainly and easily shows what the hell they’re looking at. It works really well. You’re not scared and compelled to look away; you’re mildly disturbed and wondering how the in the hell something could get to look like that. Gans has crafted some beautiful carnage.

The problem with this sort of carnage is that there’s really nothing holding it together...

Read the rest over at HBS!