The New World

This film has been out a while but it should be remembered, lest we forget its beauty. The New World is written and directed by a unique voice in film, Terrence Malick (The Thin Red Line). The film follows the well-known storyline of John Smith and Pocahontas. Smith, played by Colin Farrell, is part of the original English voyage to the Americas, in 1607. He and the rest of the British encounter the Naturals in this new and foreign land. There is much debate on either side as to what to do (peace/war, friends/enemies, etc.). When Smith is taken captive and sentenced to death he is saved by a young princess, Pocahontas (Q'orianka Kilcher). Thus begins a tale of love, romance, and cultural divides (much like Romeo and Juliet). A quick warning: the film is slow, more of a meditation than an entertaining story. It is nothing if not unique.
The relationship between Smith and Pocahontas is an interesting one. They seem to throw off their own cultures and "fall in love." This makes them want to give up everything for each other. Yet they both feel a keen sense of duty to their own people. But their relationship reminds us of what is essential to humanity. What do they have in common, these two people from completely different worlds? What does it mean to be human? Christian Bale enterst the story later as a great example of a patient, Christ-like husband who ends up marrying Pocahontas and loving her, even after she finds out Smith is still alive (she thought he was dead). That relationship is fascinating as well.
They also come from different worldviews/spiritual understandings of the way the world works. Malick is careful to be respectful of both cultures, keeping a fly-in-the-wall view of each. He makes no judgments upon their ideas. He keeps us in the past, and stays far away from commentary on where this will all lead. He forgets what he knows about the world now, and helps us to have fresh and innocent eyes when looking upon this time in human history. But what of the spiritual worlds? Are they compatible? Are they essentially the same, or radically different? Do we as the "white western" Christianity have God completely figured out, or could we learn something from these Naturals? What could we learn? Where might they lead us astray though? We should find the balance between demonizing and idealizing this peoplegroup, as we should with all peoplegroups.
Malick's final sequence holds a profound understanding of God, and His "bigness." The film ends with Pocahontas visiting England and interacting with its people and society. The music swells to a beautiful crescendo, whilst she frolicks in the man-made gardens of this new land. Pocahontas muses to herself throughout the film about "the Spirit," wanting to learn from it and be open to it. Could this Spirit be God Himself? She connects with it in her native land, but seems wary in England. Yet she eventually comes to the understanding that the Spirit is bigger than lands/places/peoples. She can commune with this Spirit even in a Western and man-made world. This reminds us that God is big, bigger than anything we could understand. We all know that we put Him in a box, everyone does. It's nearly impossible not to. But he can break through all the boxes we put him in. How do we see God for who He really is, without all the restrictions that we put on Him? It's impossible to some extent, yet prayer must not be underestimated. God help us to stop putting you in a box.
Visually and stylistically, The New World is ethereal, surreal, and poetic. Malick has a distinct style, which comes across through the beautiful cinematography, meditative musings of the characters, and stunning lighting and colors. The way the film is shot also reminds us to find beauty and truth in everything (the little things, the wind blowing in the grass, the sunsets, fishing, the runing of a stream). This world that God created is utterly beautiful; it should take our breath away. Let us not take it for granted. The New World gives us a patient and poetic eye, letting us see the world the way we should.

Hot Fuzz

Ah, what a good time. Every once in a while you just need to make fun of something. Edgar Wright's latest is a rollicking good time of a spoof on cop dramas. The team from Shaun of the Dead assembles again for over-the-top mayhem and hilarity. Simon Pegg is a supercop from London who is sent to the country because he is so good at his job that everyone else looks bad. When he gets to this picture-perfect village of Sanford, he is quickly paired up with a cop-movie obsessed nerdball (Nick Frost). Nick Angel (Pegg) quickly tries to arrest pretty much everyone for every little thing, but the town is very proud of their "safest village in England"status and will do anything to protect it. Thus, a battle of beaurocracy ensues. Eventually, that battle gets bloody and all the big guns come out, and they jump through the air while firing two guns "just like in the movies." Its absolutely gruesome, and unbelievably funny.

I love cop films, and I love to make fun of cop films. The fact is, there is a lot to make fun of. And Hot Fuzz does a great job of making everyone look like idiots. We need a sense of humor, it makes life more bearable. We have to learn to laugh at ourselves. We are all pretty weird. Let's not take ourselves too seriously. Hot Fuzz is the funniest thing I have seen in a while. The Brits really know how to make me laugh. Not a whole lot of "deep thought" on this review, just want to encourage you to see a different style of comedy and have a grand old time.

Lady in the Water

M. Night Shyamalan has to be the most "spiritual" artist working in Hollywood these days. His films awaken us to another world, one we forget exists. Critics have loved him and hated him. Audiences have loved him and hated him. I just love him. He has never misfired, and Lady in the Water is no exception.
LITW takes place inside an apartment complex in Philadelphia, which is a microcosm for the world. No shot ever takes place outside the complex. One day the superintendant, Cleveland Heep (the great Paul Giamatti), discovers a sea-nymph that has come to their world. Her name is Story (Bryce Dallas Howard), and through her life everyone in the complex finds their own personal story. God has written and is writing the great story, the meta-narrative, and each of our little stories plays a part in the bigger story. We find our purpose in the larger purpose. Let's investigate some of the individual stories present here.

Cleveland Heep had experienced an unimaginable tragedy, his family was murdered. He ran away, he could not deal with the pain and the memories. He used to be a doctor, but now all he wants to do is forget the pain. What he doesn't realize is that he has a purpose, a reason to live, and something to contribute. He is much more than a glorified janitor. Others in the complex are struggling with purpose as well. Reggie (Freddie Rodriguez) is working out one side of his body, and looks ridiculous. But his desire reflects a deeper desire, to save and protect others. Vic (Shyamalan) is writing something that he doesn't think will be all that great. But his book could be a major catalyst in the great story we all find ourselves in. Everyone has a role to play, a purpose in the story. After learning of an ancient bedtime story, Heep tries to figure out who in the complex is which role in the story. They ask the resident movie critic, and he tells them all the predictable things. But he is wrong. We must not be prideful and think we can understand the mysteries of life so easily. And sometimes we think we know what our purpose is, and we end up being wrong. But that does not mean we lack purpose.

LITW is also the funniest film Shyamalan has done, which just adds to the utter pleasure at work in the film.

The film is a supernatural fantasy that reminds us that another world exists; something else much bigger is going on and a lot of the time we don't notice it. Shyamalan helps us wake up and try to see God at work in the ordinary things. Lady in the Water teaches us that the world is a mysterious, beautiful, and frightening place. It also reminds us that our lives matter, all of our lives.

It was a shame that Lady in the Water received such horrible reviews. I think part of it was the fact that Shyamalan cast himself in a pretty arrogant role. Also, the film critic ends up being a complete idiot. And people are still waiting for Shyamalan to do another Sixth Sense (which, coincidentally, was his most popular but worst film). Maybe Night will never regain critical or popular praise, but I hope he keeps making films. He is an original and vital voice in today's film industry.

Curse of the Golden Flower

Starring Chow Yun Fat and Gong Li, Director Yimou Zhang's (Hero, House of the Flying Daggers) latest Chinese epic centers around the Tang dynasty during the 10th century. The takes place, for the most part, behind the walls of the Forbidden City, and centers around the family and political strife of the time. The Emperor (Fat) and the Empress (Li) are not getting along, to put it mildly. Its pretty complicated, but lets just say it involves incest, treachery, deceit, and treason. The Emporer has three sons, and everyone is wondering who will be the heir to the throne. At the same time, the household is preparing for the Chong Yang Festival, and the palace is filled with golden flowers. Meanwhile, the Empress is ill and is being poisoned by the Emperor. But why? How will she react? What will the sons do when they are confronted with this familial dispute? And there are some totally sweet ninjas in it (I don't know if ninja is the right term, since ninjas are Japanese, but hey).

Curse of the Golden Flower is opulent, elegant, and extravagant; an absolute visual wonder to behold. The ornate complexities of the Imperial Palace are stunning. The grandeur of the armies assembling in the courtyard is breathtaking. Ok, I will stop with all the adjectives, but trust me, it looks amazing. There is less action in Golden Flower than in past Zhang films, like Hero, but the building tension and excitement is palpable. The strong use of color, a Zhang trademark, is present throughout the film (especially gold).

The central theme/question of the film is this: "Where does your loyalty lie, with your family or with your nation?" What is loyalty? In our present day and age, do we value loyalty? Do we even know what it is? Are we loyal to our churches, to our neighborhoods, to our states, to our football teams, to our families? When is loyalty good; when is it too much? Does family trump everything? Even if it means an entire nation has to suffer (in the film, the family "represents" all of China. Thus, their decisions affect much more than just themselves)? What is the responsibility of a leader? They are not allowed to make decisions for just themselves. Many decisions they make affect the whole country. I believe that translates to our "regular" lives too, as parents, husbands, children, friends, etc. As John Donne said "No man is an island." We have to realize that the decisions we make affect others, and we need to understand the responsibilities that come with all the roles we have in our lives. Where does your loyalty lie? What are your responsibilities, and how do they affect others?

Curse of the Golden Flower is a beautiful Chinese meditation on loyalty, family, and responsibility. The lives of a few can drastically alter the lives of many.