The Film’s of 2024: God’s Not Dead: In God We Trust (dir by Vance Null)


It can be easy to forget just what a big splash God’s Not Dead made when it was released back in 2014.  Today, it’s taken for granted that every year, at least one faith-based movie will be released to terrible reviews and then “shock” everyone by opening up strong at the box office.  However, in 2014, God’s Not Dead was the film that started the whole trend, along with sparking the ongoing debate about whether or not Hollywood has the slightest idea what most Americans want to see.

That’s not to say, of course, that God’s Not Dead was a good film.  It’s not.  It’s a ludicrously simplistic and smug film that, over the course of its overly long run time, promotes the idea that the only reason atheists exist is because they’re either bitter, evil, or both.  (For the record, if a professor truly threatened to fail a paying student solely because of his religious beliefs, the end result would probably be a lawsuit.)  The idea that someone could sincerely disagree with the film’s heroes or even believe differently than them without having an ulterior motive is not one that is entertained in the God’s Not Dead universe.  Indeed, perhaps the most interesting thing about the God’s Not Dead films is that they are just as heavy-handed and often just as condescending as the secular films being churned out by the major studios.

God’s Not Dead has, to date, spawned four sequels.  The second was enjoyably campy and featured an earnest performance from Melissa Joan Hart.  The third, which is the the closest that the franchise has gotten to actually making a good film, was surprisingly even-handed, or at least as even-handed as a film in this franchise can be.  The fourth was way too talky but, because it came out during the COVID lockdowns, its condemnation of government overreach reflected the way that a lot of people were feeling at the time.  Somewhat inevitably, the fifth film finds Reverend David Hill (David A.R. White) running for Congress again the villain from the second film, dastardly atheist Peter Kane (Ray Wise).

The film opens with the death of an incumbent congressman.  His opponent, Peter Kane, tells the press that the congressman was a good man and then proceeds to gloat about his death in private.  Kane is an ultra-liberal atheist.  Usually, the villains in the God’s Not Dead universe have a dead relative to help explain why they’ve lost their faith but Kane is just evil.  (In God’s Not Dead 2, Kane specifically put Melissa Joan Hart on trial for expressing her Christian beliefs and then chortles, “We are going to prove God is dead!”)  With Kane on the verge of being elected to Congress by default, Rep. Daryl Smith (Isaiah Washington) suggests that David Hill, who went viral for denouncing Congress in the fourth film, should be the party’s new nominee.

After some hesitation, Hill agrees.  However, he drives his campaign manager, Lottie Joy (Samaire Armstrong), crazy by basing his campaign on his religious beliefs.  Of course, if you didn’t want a candidate to talk about his religious beliefs in a campaign, why would you nominate a pastor whose fame is totally based on those beliefs?  Add to that, Hill is running for a Congressional seat in Arkansas.  I have family in Arkansas.  Growing up, I occasionally lived in Arkansas.  Sure, there are liberals in Arkansas and there are atheists in Arkansas.  But none of them are going to get elected to Congress anytime soon.  Arkansas is probably one of the few states where Hill’s faith-based campaign wouldn’t be considered controversial.

(That Mike Huckabee has a cameo as himself should be all the reminder that viewers need that Arkansas is not at all hesitant about electing pastors to higher office.)

It’s heavy-handed and cartoonish, which is probably to be expected.  Unfortunately, it’s also rather boring, with not even Ray Wise’s villainy providing much entertainment value.  Outside of arguing that atheists are evil and that separation of church and state is just a catch phrase, the film argues that money is a divisive force in politics and that politicians shouldn’t be bought.  Wow, really!?  It’s a film about politics that has little fresh insight to offer.  David Hill goes from being a media-savvy pastor to being an innocent naïf who is shocked to discover that politics is a dirty business.  God’s Not Dead: In God We Trust makes Billy Jack Goes To Washington seem like a hard-hitting portrayal of American politics.

I will give this franchise some credit for maintaining a surprising sense of continuity.  As I mentioned earlier, Ray Wise returns as the character that he played in the second film.  Paul Kwo is back as Hill’s associate pastor.  Dean Cain returns as the amoral businessman from the first film.  You have to imagine that Kevin Sorbo is kicking himself for allowing his smug professor character to die in the first film.  What’s funny is that the college student who kicked off the franchise by refusing to sign a piece of paper declaring God to be dead has pretty much vanished from the films.  Whatever happened to that kid?

In the end, we all know where this is going.  The next film will undoubtedly feature David Hill running for president.  2028 is right around the corner.

Horror Film Review: Ghost Ship (dir by Steve Beck)


Way back when we first started this year’s horrorthon, Arleigh shared a horror scene that he loved.  That scene was the opening few minutes of the 2002 horror-at-sea film, Ghost Ship.

That scene featured a few dozen wealthy cruise ship passengers all getting bisected by a thin wire cord.  While a young girl named Kate (Emily Browning) watches, everyone on the ship’s dance floor literally falls to pieces.  Torsos slip off of legs.  Bodies split in half.  The captain’s head literally splits in two.  While gallons of blood gush everywhere, people vainly try to reattach their limbs.  Actually, some of them can’t even figure out which limb belongs to them.  By the time everyone’s collapsed, there’s a lot of arms and legs to sort through.

In short, it’s an absolute mess.  I wouldn’t want to be the person assigned to clean up after all that.

It’s also a rather brilliant opening, one that only takes a minute to go from romance and sophistication to bloody dismemberment.  It’s definitely the one moment that everyone remembers about Ghost Ship, which is a bit of a problem because, once that scene is done, there’s still 85 minutes of film to sit through.  Ghost Ship‘s opening is so shocking and visceral that there’s no way that the rest of the film can live up to it.

As for the rest of the film, it deals with a boat salvage crew.  Gabriel Byrne is Murphy, the captain.  Julianne Margulies is Maureen Epps, whose name might as well be Ellen Ripley.  Ron Eldard is Dodge, who is in love with Epps.  And then there’s Karl Urban, Isiah Washington, and Alex Dimitriades, who are all playing characters who you know are going to be doomed as soon as you see them.  When they’re told by a pilot named Jack Ferriman (Desmond Harrington) that he’s spotted a ghost ship in international waters, they set out to claim it for themselves.

Of course, what Jack has spotted is the same cruise ship where, forty years before, everyone was chopped in half.  After Murphy, Epps, and the crew board the ship, they discover a large amount of gold.  They also end up seeing a lot of ghosts, including the young girl from the start of the movie.  To their credit, the crew decides to leave the ship as quickly as they can.  Unfortunately, after their tugboat explodes, escape appears to be impossible and it becomes obvious that they have been lured to the cruise ship for a very specific purpose.

The film encourages us to wonder what the ship wants from the salvage crew but the answer to that question is never really in doubt.  For that matter, it’s not really a shock when it turns out that one member of the boarding party isn’t what he claims to be.  Despite being a bit predictable, Ghost Ship isn’t a bad film.  It has a reputation for being disappointing but actually it’s an atmospheric and competently directed horror film.  Though the characters are all thinly drawn, the talented cast does their best to try to bring them to life.  If the film ultimately doesn’t seem to work as well as it should, it’s largely because nothing that follows can match the power of that opening.  You watching the film waiting for a scene that’ll match that opening scene and when it never comes, it’s hard not to be disappointed.

 

 

Shattered Politics #62: Bulworth (dir by Warren Beatty)


BulworthSo, if you’ve ever wondered what happened to Robert Redford’s Bill McKay after he was elected to the U.S. Senate at the end of The Candidate, I imagine that he probably ended up becoming something like the protagonist of 1998’s Bulworth, U.S. Sen. Jay Bulworth.

As played by Warren Beatty, Bulworth is a veteran senator.  A former liberal firebrand, he may still decorate his office with pictures of him meeting Bobby Kennedy and Martin Luther King but Bulworth sold out a long time ago.  Now, he just says whatever has to say in order to get elected, including pretending to have a happy marriage. He has become a part of everything that’s wrong with Washington.

Sick of both politics and life in general, Bulworth decides that he’d rather be dead.  But, in order to make sure that his daughter collects on his $10,000,000 life insurance policy, Bulworth cannot commit suicide.  Instead, he arranges for a contract to be taken out on his life.  In two days, Bulworth will be assassinated.

Returning to California for his campaign, Bulworth gets drunk and suddenly starts to say what he actually believes.  He attacks the Washington establishment.  He attacks the voters.  He attacks the insurance companies and comes out for single payer health insurance.  With his desperate press secretary (Oliver Platt) chasing behind him, Bulworth spends the night dancing at a club where he discovers marijuana and meets a girl named Nina (Halle Berry).

(Platt, meanwhile, discovers that he really, really likes cocaine.)

Soon, Nina and Bulworth are hiding out in the ghetto, where Bulworth meets both Nina’s brother (Isiah Washington) and local drug dealer, L.D. (Don Cheadle), and gets a lesson about how economics actually work in the ghetto.  Soon, Bulworth is appearing on CNN where he raps his new political platform and suggests that the solutions for all of America’s problems would be for everyone to just keep having sex until eventually everyone is the same color.

Of course, what Bulworth doesn’t know is that Nina also happens to be the assassin who has been contracted to kill him…

I have mixed feelings about Bulworth.  On the one hand, the film starts out strong.  You don’t have to agree with the film’s politics in order to appreciate the film’s passion,  Bulworth is an angry film and one that’s willing to say some potentially unpopular things.  It’s a film about politics that doesn’t resort to the easy solutions that were proposed by some of the other films that I’ve reviewed for Shattered Politics.  Warren Beatty does a pretty good job of portraying Bulworth’s initial mental breakdown and Oliver Platt is a manic wonder as he consumes more and more cocaine.

But, once Warren Beatty starts rapping, the film starts to fall apart and becomes a bit too cartoonish for its own good.  You get the feeling that Warren Beatty, at this point, is just trying to live out the liberal fantasy of being the only wealthy white man in America to understand what it’s like to be poor and black in America.

Bulworth starts out well but ultimately, it begins better than it ends.

http://www.youtube.com/watch?v=-0SgQKpWGD4

The Oscar Season Begins With The Gotham Nominations!


UpstreamColor_KrisJeffEscalator_3000x1277

Can you guess what my favorite time of year is?

If you guessed November, you’re right!  My birthday is on November 9th, our own Dazzling Erin’s birthday is on November 24th, and then Arleigh’s birthday is on November 27th!  November is a big month here at the Shattered Lens.

My second favorite time of year?  October, of course!  How can you go wrong with so much horror?

And then, of course, my third favorite time of year is December because that’s when I get most of my presents.

Along with being my favorite three months of the year, another thing that all three of those months have in common is that they comprise what is known as Oscar Season.  Oscar Season is the period of time when the majority of the Best Picture contenders are released and all of the critic groups give out their awards in the hope of influencing the Academy’s nominations.  I love movies and I love awards so how can I not love Oscar Season?

Well, I’m happy to say that Oscar Season officially began earlier today when the nominations for the 23rd annual Gotham Independent Film Awards were announced.  The Gotham nominations aren’t exactly the best precursor of what’s going to be nominated in January but, nonetheless, they usually manage to include at least a few legitimate contenders.

This year, for example, Oscar front-runner 12 Years A Slave managed to collect the most Gotham nominations.  Personally, I’m just happy to see that my favorite film of 2013, Upstream Color, collected two nominations.

The Gothams will be awarded on December 2nd.

Here are the nominations:

Best Feature

12 Years a Slave

Steve McQueen, director; Brad Pitt, Dede Gardner, Jeremy Kleiner, Bill Pohlad, Steve McQueen, Arnon Milchan, Anthony Katagas, producers. (Fox Searchlight Pictures)

Ain’t Them Bodies Saints

David Lowery, director; Tony Halbrooks, James M. Johnston, Jay Van Hoy, Lars Knudsen, Amy Kaufman, Cassian Elwes, producers (IFC Films)

Before Midnight

Richard Linklater, director; Richard Linklater, Christos V. Konstantakopoulos, Sara Woodhatch, producers (Sony Pictures Classics)

Inside Llewyn Davis

Joel Coen and Ethan Coen, directors; Scott Rudin, Joel Coen, Ethan Coen, producers (CBS Films)

Upstream Color

Shane Carruth, director; Shane Carruth, Casey Gooden, Ben LeClair, producers. (erbp)

 

Best Documentary

The Act of Killing

Joshua Oppenheimer, director; Signe Byrge, Joshua Oppenheimer, producers (Drafthouse Films)

The Crash Reel

Lucy Walker, director; Julian Cautherly, Lucy Walker, producers (HBO Documentary Films)

First Cousin Once Removed

Alan Berliner, director and producer (HBO Documentary Films)

Let the Fire Burn

Jason Osder, director and producer (Zeitgeist Films)

Our Nixon

Penny Lane, director; Brian L. Frye, Penny Lane, producers (Cinedigm and CNN Films)

 

Bingham Ray Breakthrough Director Award

Ryan Coogler for Fruitvale Station (The Weinstein Company)

Adam Leon for Gimme the Loot (Sundance Selects)

Alexandre Moors for Blue Caprice (Sundance Selects)

Stacie Passon for Concussion (RADiUS-TWC)

Amy Seimetz for Sun Don’t Shine (Factory 25)

 

Best Actor

Chiwetel Ejiofor in 12 Years a Slave (Fox Searchlight Pictures)

Oscar Isaac in Inside Llewyn Davis (CBS Films)

Matthew McConaughey in Dallas Buyers Club (Focus Features)

Robert Redford in All Is Lost (Lionsgate and Roadside Attractions)

Isaiah Washington in Blue Caprice (Sundance Selects)

 

Best Actress

Cate Blanchett in Blue Jasmine (Sony Pictures Classics)

Scarlett Johansson in Don Jon (Relativity Media)

Brie Larson in Short Term 12 (Cinedigm)

Amy Seimetz in Upstream Color (erbp)

Shailene Woodley in The Spectacular Now (A24)

 

Breakthrough Actor

Dane DeHaan in Kill Your Darlings (Sony Pictures Classics)

Kathryn Hahn in Afternoon Delight (The Film Arcade and Cinedigm)

Michael B. Jordan in Fruitvale Station (The Weinstein Company)

Lupita Nyong’o in 12 Years a Slave (Fox Searchlight Pictures)

Robin Weigert in Concussion (RADiUS-TWC)

5-17-13-Upstream-Color