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Movie Review – Sleeping with Other People (2015)


Sleeping with Other People, 2015.

Written and Directed by Leslye Headland.
Starring Jason Sudeikis, Alison Brie, Jason Mantzoukas, Adam Scott, Adam Brody, Natasha Lyonne, Katherine Waterston, Andrea Savage, Marc Blucas and Amanda Peet

sleeping with other people

SYNOPSIS:

A good-natured womaniser and a serial cheater form a platonic relationship that helps reform them in ways, while a mutual attraction sets in.

Sleeping-With-Other-People2

Another week, another rom-com, at least that's how it always seems to be throughout the many weeks of a cinematic year. But whilst the Nicholas Spark train keeps chugging along, it's about time we had a romantic comedy that wasn't all fairytale and schmaltz. Sleeping with Other People, produced by Will Ferrell and Adam McKay (Anchorman), is such a film to shake up the genre with its look at relationships and love in 2015/6, and if the age-old question of whether men all women can just be friends is still as ripe as it was when Sally fell for Harry.

Indeed the film takes many of its questions and cues from Rob Reiner and Nora Ephron's ultimate rom-com (with some neat homages to The Graduate thrown in) and re-examines them through the brave new world. And Sleeping with Other People certainly is brave, choosing realism and frankness over happy-ever-afters and the like. Of course it has though moments, but it's those that surround it that make the film so engaging and ultimately enjoyable.

Director Hedland, who previously made the hugely disappointing Bachelorette back in 2012, has been applauded by many as one of the brightest female directors around and finally with Sleeping she is showing such signs. Similarly with her first efforts, she takes her cues from Bridesmaids (amongst others) in treading the fine line between adult humour and flat-out vulgarity, only this time the balance is much better. It doesn't always work mind, with some of the humour stepping too far and the final third becomes somewhat dull but for the most part, Sleeping… is great fun.

SWOP 6-10-14-938.CR2

Much of the fun comes from two brilliant central performances from Jason Sudeikis and Alison Brie, both of whom are at their best here. Both have struggled to find decent material over recent years, with Sudeikis returning to Horrible Bosses with its awful sequel,whilst Brie found herself stuck between light indie fare and equally poor films such as Get Hard. Neither have been able to build on the promise of Saturday Night Live or Community but finally they are given the right material to showcase their talents, with both equal parts charming and jovial.

It may have all the hallmarks of another by-the-numbers rom-com but Sleeping with Other People manages to be equally funny, honest and refreshing it is depiction of romance in the 21st century world. It's not perfect, but you'll be hard pressed to find a better film of its kind right now.

Sleeping With Other People will be available on DVD on February 22.

Flickering Myth Rating[1] – Film: ★ ★ ★  / Movie: ★ ★ ★ ★

Scott J. Davis is Senior Staff Writer at Flickering Myth, and co-host and editor of The Flickering Myth Review Podcast. Follow him on Twitter[2].

References

  1. ^ Flickering Myth Rating (flickeringmyth.blogspot.com)
  2. ^ Twitter (twitter.com)

'Risen' Actor Joseph Fiennes Proud Movie Doesn't Feature White Jesus


February 22, 2016|10:33 am

Risen(Photo: Sony Pictures)

Film still for "Risen" (2016).

Instead of a man with fair skin, actor Joseph Fiennes is proud his new movie "Risen" depicts Jesus Christ as a non-Caucasian man.

"Risen" tells the story about the events that took place after the Messiah's resurrection. The film is told from the perspective of a fictional Roman military official named Clavius who is charged with the task of disproving the fact that Jesus actually did rise from the dead. Fiennes stars as Clavius while olive-toned actor Cliff Curtis plays Jesus.

For Fiennes, the casting of Jesus was important at a time when Hollywood struggles to recognize diversity.

"No, he's not Caucasian. I mean, there's such a furor with the Oscars — and I'm not going to wade into any of that — but just in terms of casting, yes this is a big step forward just in terms of getting the casting right and moving away from the golden, blue-eyed boy and delivering the right type of casting," he said in a Metro[7] report. "It's brilliant. I'm really proud of that."

Curtis, the 47-year-old New Zealand actor, considers it a miracle that he was cast as Jesus Christ, considering he has played villainous characters in movies like "Live Free or Die Hard" and "The Last Airbender." Other than the fact that he has been typecast in many films, Curtis was surprised that he landed the role that Hollywood usually granted to younger actors with fairer skin complexions.

"Jesus was crucified by age 33 and I'm in my late 40s. And when you look at my work, what makes you think that I'm right for this role," he told Wenn, according to Scout[8]. "It was a miracle! I just thought I wasn't fair complexioned enough to get the role and I needed blue eyes."

For Curtis, gaining the opportunity to play Jesus was a pleasant surprise, since the former altar boy once dreamed about doing so.

"I was a devout Catholic as a child and I was an altar boy and served mass and I did the whole thing and had the crucifix next to my bed, everything," he revealed. "So when I became an actor and the question would arise, 'What roles do you want to play?' I'd say, 'Jesus', and it had become a running joke."

Aside from Curtis and Fiennes ("Shakespeare in Love") as Clavius, the film features Tom Felton ("Harry Potter") as Clavius' aide Lucius, and Peter Firth ("Pearl Harbor") as Pontius Pilate.

'Justice League' movie to begin filming in April


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It's a battle of epic proportions as two superheroes face off in 'Batman v Superman: Dawn of Justice'. USA TODAY

Dwayne Johnson and Kevin Hart will host 2016 MTV Movie Awards


It was only a matter of time before Kevin Hart was paired up with the Rock again, wasn't it?

"Central Intelligence" costars Dwayne Johnson[1] and Hart will host this year's MTV Movie Awards just in time to cross-promote their June comedy.

The 25th anniversary of the oft-talked about awards show will take a unique approach: It will be shot outdoors at Warner Bros. Studios in Burbank on April 9 and air at 8 p.m. Eastern and Pacific times on Sunday, April 10.

References

  1. ^ Dwayne Johnson (www.latimes.com)
  2. ^ See the most-read stories in Entertainment this hour >> (www.latimes.com)
  3. ^ See more of Entertainment's top stories on Facebook >> (www.facebook.com)
  4. ^ Conan O'Brien (www.latimes.com)
  5. ^ Instagram (www.instagram.com)
  6. ^ @NardineSaad (twitter.com)

17 Life Lessons I Learned From Lifetime Movie Pregnant at 17


Lifetime movie Pregnant at 17

(via[1])

Last night Lifetime premiered Pregnant at 17, yet another example of all the troublesome things that can happen to people who are just barely old enough to get into an R-rated movie. I was interested to see this one, mostly because the promos Lifetime aired for it were made to look like a dramatic silent movie, and I'm a sucker for creative and/or mind-boggling marketing techniques.

Just as I suspected, this movie was chock-full of important life lessons that apply to everyone, not just teenagers who are pregnant with the babies of married men. So I rounded up the biggest ones in a list for your convenience.

1. Drinking in bars at 17 is totes cool, as long as you have adult supervision.

It's totally fine that Chelsea (Zoé De Grand Maison, aka Gracie from from Orphan Black[2]) has been hanging out in bars since she was 15, since her dad is right over there playing pool, and the bartender stops guys from hitting on her. Well, except for that one time she started dating a married man. Oops.

2. If the sister of the guy you helped put in jail for robbery won't leave you alone at school, just drop out.

Chelsea witnessed a young man named Greg (Rogan Christopher) rob a convenience store and ratted him out to the police. Greg's sister (Corina Bizim) bothered her about it a lot at her locker between classes, so obviously she had no choice but to stop going to school.

3. If you pass out while ironing, you might be pregnant.

Good thing Chelsea woke up in time. There could have been more damage than just that triangle burn on the carpet. As her co-worker at the ice cream shop suggests, she may have gotten knocked up. A pregnancy test confirms this, as we all could have guessed from the movie's title.

4. The worst thing that can happen to a woman is not being able to have a baby.

We've learned this lesson time and time again[3] in Lifetime movies. Sonia (Josie Bissett), the wife of Jeff (Roark Critchlow), Chelsea's baby daddy, had a miscarriage. Because of that, her husband became a lying dickhead who knocked up a teenager. So sad.

5. When you're meeting your married lover at a hotel, make sure to state your full name for everyone to hear.

Sonia finds out where Jeff is meeting Chelsea, and she goes there to spy. That's when she hears Chelsea checking in. Just think, if Chelsea hadn't said her name, Sonia wouldn't be able to google her, and we might not have a movie!

6. If you've just found out your girlfriend is both pregnant and underage, just try to pay her to have an abortion.

Jeff tries to give Chelsea $10,000 to end the pregnancy, but she doesn't want it. Good thing they have a big argument about it on her front lawn so Greg's spying sister can overhear it and find out Chelsea is involved with a rich guy just as her brother is getting out of jail.

7. When you find out your husband has been sleeping with a teenager, go ahead and befriend her.

Sonia visits Chelsea at the ice scream shop, and then at a thrift store, where she proceeds to act really weird and ask Chelsea personal questions. She's surprised to discover how much they have in common! Aww, besties!

8. Always tell strangers intimate details about your life.

Chelsea has no problem telling a strange woman about her mother's death, her pregnancy, and her complicated relationship with the baby's father. It was just so nice of her to ask.

9. Sometimes the inspirational messages you have tattooed on your body don't turn out to be true.

Chelsea has "love conquers all" tattooed on her ankle in German in tribute to her mother. But her current situation kind of conflicts with that. If only it would turn out to be true in the end, just not like she first expected…

10. When your wife confronts you about your affair, be sure to blame her for everything.

Jeff apologizes in the same tone a person might use when they forgot to pick up a carton of milk on the way home, then says this is all because Sonia had to go and have a miscarriage and ruin their marriage. What a bitch, am I right?

11. Then get hit by a car as soon as you're no longer needed for the plot.

Jeff spends the rest of the movie in a hospital bed while Chelsea and Sonia do most of the work.

12. When your husband's pregnant teenage mistress starts fearing for her life, just let her stay with you.

But you might want to tell her you're her baby daddy's wife first. It's the polite thing to do.

13. Always answer the door with a smile when you think a guy who just got out of prison is looking for you.

Chelsea is staying with Sonia, as I just mentioned, because she spotted Greg outside the ice cream shop. The police told them to be careful, so obviously Sonia answers the door without checking who it is and quickly welcomes two people with guns into her home.

14. Keep $25,000 and some jewelry in your safety deposit box at all times in case you need ransom money.

Sonia takes Greg to get the money while his sister drives Chelsea to an abandoned house somewhere. (Bad guys know where all the abandoned buildings are.)

15. Try to be a veterinarian so that you'll always have dog tranquilizers in your car when you're kidnapped.

Greg ties Sonia up in the back of her own car and drives it to meet his sister, but Sonia the veterinarian has a plan. Long story short, Greg wants her and Chelsea to dig their own graves, but with the help of that needle, they end up shooting both of them and calling 911.

16. If you can, always give your baby to the wife of the man you slept with.

It's so convenient that Sonia and Chelsea became such good friends. Otherwise Chelsea might have become a teen mother, and Lifetime movies have already taught us how unfun that can be[4].

17. That guy who works in the convenience store is the love of your life.

Obviously Chelsea ends up with the grandson of the convenience store worker Greg robbed. Aw, maybe her lame tattoo was right after all. Let's just hope this time she remembers to take her birth control every day.

Why watching the movie ‘Neerja’ hurts


If it is difficult to watch the movie, "Neerja", it is not because one cares too little but too much, knowing how it ends.

It's like revisiting the past and the museums set up on the ruins of the Nazi concentration camps at Auschwitz, Buchenwald, Dachau, Bergen-Belsen, Treblinka and Sobibor.

In the poem "September 1, 1939″, Auden writes, "I and the public know/What all schoolchildren learn/Those to whom evil is done/Do evil in return."

It is a vicious circle. The Nazis inflicted it on the inmates of the concentration camps, some of whom inflicted it on the Palestinians, some of whom inflicted it on the rest of the world through terrorist attacks and hijacks.

Which brings us to the hijack of Pan Am Flight 73 at Karachi airport where Neerja saved the lives of the innocent and the children when the terrorists started firing on the passengers at around 9.30 pm on the night of September 5, 1986.

Even what is called natural death is difficult to reconcile to. For years, I lived in a house where there were three people, two of whom had been diagnosed with cancer–my wife and her elder sister. I was working then.

Sometimes, after office hours, I would go to attend family weddings. Halfway, I would return home since it made no sense to proceed, leaving behind those who were too ill to attend the wedding.

Neerja-Bhanot-bccl

Today, there is no one at home. Photographs of those who were at home now hang on the wall. And I find it even more difficult to attend weddings. Going alone and returning alone is difficult.

Today is February 22, 2016. And I find myself going back in time to February 22, 2015, February 22, 2014, February 22, 2013, February 22, 2012, and February 22, 2011 when there were people at home.

It would, I realize, be so very difficult for the family of Neerja to remember year after year her birthday (September 7, 1962) and to relive the preceding days in September 1986 when the hijack happened.

Neerja never made it home for her birthday on Sunday, September 7, 1986. On her birthday, her coffin was brought back to Mumbai from Karachi where she was shot dead by terrorists on the night of Friday, September 5, while trying to rescue 359 passengers by evacuating them through the emergency-exit of the hijacked Mumbai-New York Pan Am Flight 73.

The movie tells us that Neerja was very fond of the films starring Rajesh Khanna, especially "Anand" where he plays the role of a cancer patient who is determined to be cheerful and tells his doctor, "Babumoshai, zindagi badi honi chahiye, lambi nahin" (Life should be big not long).

Which reminds me of an advertisement of the 1970s/80s which says, "Live life kingsize", ironically for a brand of cigarettes.

What is not mentioned is that there is an undertone of sadness in the movies where Rajesh Khanna plays the role of someone whose days are numbered. Like in "Anand" where he emotes the lyrics of the song, "Mauth, tu ek kavita hi" (Death, you are a poem")

The only way to break out of this circle is to reach out. Which is what Neerja did during those harrowing 16 hours of the hijack and the worst moments of the shooting by the terrorists.

Which is why one of the passengers who survived called Neerja an angel: "If at all there is a God, for me it is her. Today I am a doctor because of her. Like me, there are 300 odd people who survived because of her. Even now after 30 odd years, I can't forget her lovely face. She was an angel. Neerja was the first person who could have run away. She didn't. I was in the sixth row of the economy-class and vividly remember how they shot her at point-blank range in front of me. I was shocked to see her dying. A young lady commanding a plane (after the pilot, co-pilot and flight-engineer had escaped through the cockpit-hatch, as per the anti-hijack protocol), negotiating with terrorists, keeping the passengers calm and maintaining her cool is the kind of bravery you rarely see. I request the people of India to watch this film," Dr Kishore Murthy is quoted as telling Rediff.com.

It seems particularly poignant that some of those she saved were children. The innocence of children transcends any circle of sorrow.

The other day I was sitting in a car at a traffic-light when I watched a woman holding a little schoolboy by hand and walking him through the pedestrian-crossing. The moment he reached the pavement, the little boy released his hand and did a hop, step and jump. And then he reached out for his escort's hand since there was one more road to cross.

DISCLAIMER : Views expressed above are the author's own.

A movie theater chain that started in a Texas garage is using delicious food to save the industry from Netflix


Alamo DrafthouseStewart F. House/Stringer/Getty Images[1]

In this post-Netflix world, going to the movies doesn't seem to be as appealing an experience as it once was. 

Why leave the house, subject yourself to absurdly overpriced food, and sit through 15 minutes of previews when you could just unwind on the couch with some takeout and a glass of Chardonnay while watching one of thousands of titles on Netflix?

It's a toss-up, but Alamo Drafthouse Cinema[2] is hoping to tempt potential moviegoers out of the house again.

The cinema chain began[3] in Austin, TX in 1997 in a former parking garage. Founders Tim and Karrie League started with a simple concept: come to watch good movies – foreign films, classics, cult movies, etc. — and order food and drinks from your seat. Essentially, an indoor drive-in with "table" service. 

Their idea took off, and the Alamo Drafthouse flourished, growing to several locations around the city. Now, the chain is expanding nationally with locations in eight states, spanning from CA to NY. 

Alamo DrafthouseFlickr/Craig Moore[4]

The chain strikes a unique balance between standard box office flicks and more niche showings and events to cater to just about every possible taste. So between the newest superhero installment and late-night runs of "Hiroshima Mon Amour", the Alamo Drafthouse is bound to have something for everyone. 

Another plus is the refreshing absence of previews or pre–movie advertising. A tenet of the Alamo is making sure nothing disturbs the movie experience – this includes unceremoniously kicking out anyone talking or using their cell phone.

Alamo DrafthouseYoutube/Alamo Drafthouse[5]Alamo Drafthouse often releases humorous "Don't Talk" PSA's featuring major celebrities. But don't take it lightly – they really don't want you to talk.

Furthermore, the company's attention to detail and quality is staggering – while many theaters across the nation are trading expensive film projection equipment for digital projectors, the Alamo hires trained projectionists for every location. 

And don't fret, the food itself is rather impressive. This isn't your typical theater fare (although bottomless popcorn is available, of course). There's a full menu that varies slightly depending on location; different regions offer some more local items, like crab cakes at the Virginia cinemas and chorizo migas for brunch in San Antonio. 

From beefy burgers smothered with caramelized onions, goat cheese, or special aoilis, to premium pizzas with toppings ranging from smoked bacon to brussel sprouts, the menus inspire a certain amount of respect. 

Alamo Drafthouse foodFlickr/Stephanie[6]There are real meals served, not just popcorn and candy.

And the drink options are far reaching, with huge amounts of local and well-known draft beers (it is called the Drafthouse, after all), wines, and special film themed cocktails and "adult milkshakes" like the Maker's Mark Milk Punch Shake. 

With such a broad appeal, it's easy to see why the chain is expanding so quickly, now that an earlier franchising legal snafu has been settled. According to Bloomberg[7], Alamo Drafthouse hopes to have some 50 theaters nationwide by 2018; there are 22 locations presently. 

The Witch’: The Making of the Year’s Scariest Movie


SPELLBINDING

02.21.16 5:15 AM ET

Director Robert Eggers and star Anya Taylor-Joy talk about the making of The Witch, spill secrets behind its scares, and explain the feminist power of witches. (Really)

Black storm clouds have just crept across the Hudson, blanketing Manhattan in shadow. The rain is pouring down so hard it's almost biblical, culminating in an ambience straight from a horror film.

How fitting, then, to be talking to Robert Eggers and Anya Taylor-Joy, the director and star of The Witch, the most horrifying film[1] to terrorize—and, in turn, delight—viewers in a decade. "It is perfect," Eggers says, laughing, glancing out the window at the precipitating mayhem. "It's cool!" Taylor-Joy laughs, leaning forward to score the ominous scene: "Dunh dunh dunh."

It's almost unsettling to see the young actress be so playful and bubbly. For the hour-and-a-half running time of The Witch, a somber, serious Taylor-Joy crafts a character that chills you to your core. 

Since premiering at Sundance[2] last year, there's been much buildup to the release of The Witch, which has been branded[3] "the scariest movie in years" and ruled[4] "pure horror movie perfection" by critics. Stephen King (who knows a thing or two about the genre), said[5] the movie "scared the hell out of me."

"It took four years to find investors who wanted to make a movie in early modern English," Eggers tells me. "To have this reaction is really overwhelming. I thank the zeitgeist for being witchy right now."

The Witch is a film that, on paper, shouldn't be in the zeitgeist at all. 

Set in 17th century Puritanical New England, it follows a family that has been cast out from their plantation commune. Isolated in a dank, unforgiving, aggressively gray clearing on the edge of the woods, their lonely, self-sufficient struggle combines with their extreme piety to birth a black-magic paranoia that slowly begins to destroy them. 

In a terrifying sequence, Thomasin, the family's eldest child, played by Taylor-Joy, is playing peek-a-boo with her newborn brother. She covers her eyes and when she reopens them, he has disappeared. 

In an attempt to find blame, the family, crushed under their own fire-and-brimstone fear of sin, devolve into a slow-burn hysteria. As crops start failing, objects start disappearing, and the family's other children begin to exhibit odd behavior, their paranoia gives way to a conclusion: This all must be the work of a witch. And that witch may be Thomasin. 

Eggers spent nearly five years researching the time period, its folklore, Puritan beliefs, and, of course, its accounts of witchcraft. This was before the Salem witch trials, a time when religious settlers were victims of their own zealotry, truly believing that darkness was the work of witchery. 

The Witch's greatest accomplishment is the fruits of Eggers's years of labor: a painstaking re-creation of life at the time that makes the witch hunt feel hauntingly real. Everything from the boning in the female characters' corsets to the clapboards that were built are true to period. That includes the dialogue, too—much of it is taken directly from the primary sources Eggers came upon in his research.

The result isn't so much the "horror" film we've all been sold in marketing, but a psychodrama that trades on the characters' desperation and lonely anxiety—not to mention fear of their titular neighbor in the woods—to create a visceral, crushing sense of dread. 

Sure, we get glimpses of witches, and they are terrifying and gruesome. A wrinkled hag grinds the stolen infant with mortar and pestle, and spreads the fruit of her labor on her body as if it's a lotion, and a possessed goat lurks like a proper horror movie monster. But this is not a film that frightens with a "boo," but instead by twisting its haunting plausibility into your head with Eggers's meticulous verisimilitude. 

As The Daily Beast's Jen Yamato wrote after seeing the film at Sundance, "Think The Crucible meets The Shining, seen through the eyes of a teenage girl wrestling to resolve her rigid religious upbringing with her burgeoning sexuality."
[6]

It's a project that flourishes from its creators' lifelong obsessions with the occult. So with the film finally in theaters after a year of buildup following its Sundance debut, we spoke with Eggers and Taylor-Joy about the witchy zeitgeist, the secret to the film's scares, and the feminist power of The Witch.

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Why do you think the zeitgeist is witchy right now? What is about this time in culture? 

Eggers: My answer is going to make me sound like a New Age crystal worshipping weirdo.

Taylor-Joy: I actually am a crazy crystal person, so…

Eggers: But check it out, man. The Bushwick witches and everything else.

Taylor-Joy: I remember being on set and overhearing a conversation [from members of the crew]. They were talking about, "Oh, zombies are really big right now!" and they were trying to get me to watch The Walking Dead. And we were like, "Zombies are big now, vampires were big a while ago, oh…this is exciting." We're making a witch movie. That's kind of cool.

Eggers: But I actually think it's bigger than just "Witches are the new vampires." I think there's a cultural…something.

Taylor-Joy: Totally.

Does being so entrenched in a character who becomes concerned herself that she may be a witch change your own feelings on witchcraft? 

Taylor-Joy: Strangely enough it didn't change it that much because as a kid and now, I really believe in magic. I love magic. As a kid I would run into the woods and try to find witches and be like, "Yo, I'd like to join you." There are magic moments you get as an actor where you react to something so strongly that you feel it in your body. There were a couple of lines throwing the word "witch" around where I literally was like "Whoa, that's what that means."

Being called a witch while filming actually had a visceral effect on you?

Taylor-Joy: Rob and I talk about it all the time. "The witch" wasn't just the way of getting rid of someone. Like if you didn't you like an outspoken woman. They really did believe that and it really was a death sentence. It's frightening. That was amazing to be able to feel and also kind of harrowing because, wow, this actually happened to a lot of innocent women. That was a bit of a shocker.

So many of us are first introduced to these ideas learning about the Salem Witch Trials in school. But I remember never really being able to grasp what was going on. It all seemed like lunacy, thinking that people were witches. This film, I feel like, makes that paranoia finally make sense. 

Eggers: That's great. Bless you. We had a screening for some historians who said that it was really powerful to see things that they were writing about acted in this way, and see it played out on a real human level instead of in their imagination. It did seem like lunacy to me too. I couldn't wrap my head around it as a kid. But in fact the subconscious fear of female power was so extreme that they literally believed these women were fairy tale witches. That realization made this an exciting project because the ramifications of the idea of the evil witch, it goes through time. We're still dealing with it today.

There is striking relevance. Like you said, the fear of female power. The witch hunt. 

Eggers: Claiming female power as a cultural consciousness, today we're still working on it.

Taylor-Joy: That sort of ties into what I was saying about the vampires and the zombies. It's actually a bigger issue than that. The word "witch" in those days was such an ugly word. It's not even an ugly word. It's a death sentence. It's not calling someone stupid or something like that. There's a sort of element right now, there's still a really long way to go, but feminism is at least being talked about and it's a wonderful message of owning your power—that sort of thing.

Eggers: Of course, the irony in this film, the witches are evil. They are as people saw them. But I think you can see those things still. Feminist issues—I wasn't trying to make this film with any of intention or message. I wasn't trying to make a feminist film. But it was clearly bursting out of all these texts that I was reading and creating this story it happened. Because that's what it's all about.

Everyone keeps calling this a horror film. But you've said you actually think of it as more of a fairy tale. 

Eggers: Yeah. It's a horror film as much as anything is a horror film. But for me, these pre-Disney fairy tales that aren't moralistic and aren't simplistic and have darkness and enigma—these are powerful. These are things that will last. One of my favorite things about these pre-Disney fairy tales is that, among other things, they're almost mythic in the ways they subconsciously explore complicated family dynamics. The family drama is the most interesting drama and it's how we kind of deal with all of our relationships, all of our lives. In Grimm fairy tales, often the evil stepmother witch character is the biological mother. That's interesting stuff.

There are certainly horror elements, though. I mean, those witches are horrifying as hell when you see them. Because of that I could see there being a temptation to scare with them all the time and turn this into a monster movie. Why did you feel it was important not to do that? 

Eggers: There are a lot of reasons that are all connected. The thing is that when you see supernatural things played out in a super-heightened way really explicitly, you can only be aware of artifice. So the more restraint and the more that you hold back and the more that it's things that could somehow in our contemporary brain be rationalized scientifically, we can almost believe in the supernatural more as an audience. 

You need to be able to believe that this is real. 

Eggers: Also, monsters have their power in the shadow, in darkness, in the things you're imagining and can't see. If you bring it to light, whatever. Alien is one of my favorite horror movies, if it's a horror movie. The way we just see glimpses of that alien really works. I'm always disappointed that after it goes out the airlock in one of the last shots of the film, we see the whole body and the rubber suit in that light. You're like, "Ah it's a rubber suit." The rest of the movie doesn't do that. Hopefully that dissatisfaction I feel about Alien, people don't feel about my film. 

Taylor-Joy: Your imagination is always scarier, right?

Eggers: I mean I can't look into your soul and find out what scares you the most. So I work as hard as I can with my imagery and then hold back so you can finish it. That's the idea.

It must be nice that so much recognition is being paid to the attention to detail you had in dressing the set. Did I read that you even flew in a tree to make it look more authentically New England? (The movie was filmed in Ontario.) 

Taylor-Joy: One tree. 

Eggers: It was really hard to find a white pine in a hemlock forest, but we didn't end up flying more in. But the clapboards, the house, and the out buildings, those are a vernacular architectural tradition that doesn't exist in northern Ontario. And the thatching as well is not part of the traditions, so we had to get people who work on first-period houses and museum re-creations in Massachusetts and Virginia to do that stuff for us.

When you were insisting on this attention to detail did anyone call you crazy?

Eggers: I mean, yeah. But once I found my investors, they got what I was trying to do so they really supported it. Any line producer who is good at their job is going to push back at every single one of those choices. And they need to. But I had my team supporting me and they understood why it mattered. I will say it wasn't just like I was being irresponsible. The production designer was so compromising, but let me tell you, we spent so many discussions on how to fake the clapboards. He was looking at all different ways to try and fake it and ultimately you can't. You can't fake it. That's why we did it that way.

The authenticity, though, is the reason it all is so scary. 

Taylor-Joy: Rob did an incredible job and, honestly, how lucky are we that's how we get to act? He created our world. All the clothes. The house. It's all so authentic and real that in reality we'd just turn up and be like, "We are fully invested in playing pretend, because it doesn't feel like pretend."

Eggers: I do want to note though that the pockets weren't in your clothes back in the day. They were exterior. The pouches they carry were called pockets. OK. So I made sure to work with props to make sure that the things in their pockets were the accurate tools and bits and bobs that they would have so they'd really feel it. But by week two they'd all be carrying, like, cigarettes around in it.

Taylor-Joy: That is true. We had the other stuff in there. The cigarettes were just included.

Having spent so much time doing the research and making the movie are you more obsessed or exhausted by witches now?

Eggers: I'm not exhausted by witches. I'm a little exhausted by saying the same stuff about witches, though I'm privileged to be in the position to do so. But I was lucky to have a lifetime fascination and be aware of the mythology, religion, the folklore, the occult. This is the stuff that rings my bell (laughs), so it's cool.

Taylor-Joy: Totally likewise. I don't know if I was in denial or something because I hadn't really thought about it very much, but the first time I saw the poster I was like, "Oh my god, my first movie is called The Witch? Are you kidding? That's amazing. I couldn't have picked something more me to do."

So where do you go from here? What's next?

Eggers: I'm doing a contemporary Brooklyn romantic comedy. Like, Frolic Through the Park. [Laughs.] I'm kidding. I'm doing a medieval epic.

References

  1. ^ most horrifying film (www.thedailybeast.com)
  2. ^ premiering at Sundance (www.thedailybeast.com)
  3. ^ branded (www.thedailybeast.com)
  4. ^ ruled (www.thedailybeast.com)
  5. ^ said (www.thedailybeast.com)
  6. ^ wrote (www.thedailybeast.com)
  7. ^ Terms of Use (www.thedailybeast.com)
  8. ^ Privacy Policy (www.thedailybeast.com)

The 'Risen' Movie: An unbeliever confronts the empty tomb


Christian audiences have felt a little burned lately by bad movies on biblical subjects. But one really good movie can change all that.

"Ben Hur," "The Robe," "The Ten Commandments," "Quo Vadis?"—who can forget the golden age of biblical films? But that was the 1950s, and this is 2016.

Biblically based movies these days often come across as, well, less than inspired. Writers and directors sometimes play fast and loose with the source material, leaving out crucial details and inventing some bizarre stuff. Worse, portrayals of God often come across as flippant or even blasphemous. And that's just not something I enjoy watching.

Well, I want to urge you to give the genre another chance. Because a film hitting theaters this weekend proves that swords-and-sandals productions based on the Bible can still hold their own against "Ben Hur."

"Risen," directed by Kevin Reynolds and starring Joseph Fiennes, is the story of the manhunt for th e corpse of Jesus Christ. Spoiler alert: They don't find it.

Fiennes plays a Roman tribune named Clavius. He's tasked by Pontius Pilate with crucifying the latest batch of Jewish rabble and self-proclaimed messiahs. The only catch? One of them really is the Messiah.

Of course Clavius, a good Roman military man, doesn't think anything of Jesus. When the centurion at Golgotha admits, "Surely this Man was the Son of God," Clavius lets him have it. Clavius is tough, and he's immune to Jewish superstition—that is, until Sunday morning. For Clavius, that's when all Heaven breaks loose.

The tomb is empty, the guards aren't talking, and the Disciples of Jesus are spreading the news that He's come back to life. The high priest warns Pilate that they'll have an uprising on their hands if he doesn't put the resurrection story to rest. So Pilate sends Clavius on a grisly, CSI-style hunt for the body of Christ.

That's when our tribune has an enco unter that shakes his pagan worldview to the core. "I have seen two things which cannot reconcile," he says. "A man dead without question, and that same man alive again."

Everyone on our BreakPoint team who's seen the film loves it, not just because it's a respectful and riveting portrayal of the gospel accounts, but because it shows an unbeliever's crisis of faith when confronted by the Risen Lord.

In anticipation of Easter, I cannot think of a better reminder of how Christianity, as Tim Keller puts it, forces us to "doubt our doubts." The empty tomb is the most startling fact of history—something two millennia of skeptics have tried to explain away. But the evidence is just too strong. And "Risen," like a good detective novel, follows that evidence where it leads.

For instance, the Roman officials and Jewish leaders had every motive to produce a body. Yet they couldn't. And Jesus' Disciples had nothing to gain and everything to lose fr om lying about the Resurrection. But their transformation from cowards to spiritual conquerors testifies that they, like Fiennes' fictional character, saw something—or Someone—who rocked their worlds.

Joe Fiennes, whom I had the pleasure of interviewing on the "Eric Metaxas Show," told BreakPoint that he expects this movie to touch audiences in a unique way precisely because it invites them to examine these events through the eyes of a non-believer.

I think "Risen" has the potential to spark a renaissance of solidly biblical movies. But more importantly, I think it will challenge audiences to confront, with Clavius, the question that defies doubters to this day: If Jesus is dead, then where is the body?

Go see " Risen ." And take some unbelieving friends with you.

Risen is a breath of fresh air for moviegoers who have longed for a quality, biblical-themed movie that upholds the truth of Scripture rather than attacking it. Due to its unique a pproach, viewers get to experience the truth of the Resurrection of Jesus Christ through the eyes of an unbeliever.

The movie absolutely, positively affirms the bodily Resurrection of Jesus Christ.

Having first read and reviewed the novel , I had the opportunity to watch the film twice before its release, in preparation for this review. It is difficult to write this evaluation without providing a spoiler, so allow me to get this obvious one out of the way at the beginning. The movie absolutely, positively affirms the bodily Resurrection of Jesus Christ. Christians do not need to worry about the film attacking the core of our faith.

Starring Joseph Fiennes (Martin Luther in the 2003 film Luther ) and Tom Felton (Draco Malfoy in the Harry Potter series), Risen is a work of historical fiction , meaning it places fictional characters in the midst of a historical setting. It follows a Roman tribune named Clavius (Fiennes) who is stationed in Jerusalem during Christ's Crucifixion and Resurrection. The Story

After a morning battle with a group of zealots led by Barabbas, Clavius is summoned by Pilate to make sure that the three people crucified that morning would be dead before sundown. Assisted by his beneficiarii Lucius (Felton), they head for Calvary when an earthquake shakes the city. Upon arriving, Clavius orders his soldiers to break the legs of the crucifixion victims. Since Jesus (called "Yeshua" in the film) appears to be dead already, and due to the wailing of some women in the crowd, Clavius orders a soldier to pierce His side with a spear instead of breaking His legs. Joseph of Arimathea arrives and shows Clavius a letter from Pilate granting Joseph the rights to the body of Jesus. They bury the body in Joseph's tomb and roll the stone in place.

Jesus crucified along with other convicted criminals in Columbia Pictures' Risen .

Pilate summons Clavius again the next morning. The Jewish authorities, including the high priest Caiaphas, are meeting with Pilate, requesting that a guard be posted outside the tomb. They want to make sure that none of the disciples of Jesus will attempt to steal the body and then proclaim that He rose from the dead, as He said He would ( Matthew 27:62–66 ). Pilate orders the tomb to be sealed and guarded. Clavius personally sees to the sealing of the tomb, allowing a representative of the Jewish authorities to inspect the tomb first to see that the body of Jesus was still there. He then orders soldiers to stand watch for the night.

Early the next day, Pilate calls for Clavius again. He is furious that the tomb has been opened with the soldiers nowhere to be found, and that followers of Jesus are claiming that He is alive again. The chief priests arrive and tel l Pilate that his soldiers came to them seeking their protection and claiming that the disciples came during the night and stole the body. Caiaphas asks Pilate to officially announce this claim, but Pilate wants proof. He commands Clavius to track down the body so that they can put an end to the talk of a risen Messiah.

Thus, the story is set up. Clavius must comb through Jerusalem in a search for the body of Jesus, investigating the evidence. He visits the empty tomb and examines the scene. They search Jewish cemeteries to see if any recently crucified men had been buried there. Through a series of interviews with those who have been heard speaking about the Resurrection, Clavius determines that the disciples are the key—find the disciples and he'll find the body. Clavius eventually locates the disciples and gets much more than he ever bargained for as he comes face-to-face with the truth. Review

The film's director, Kevin Reynolds ( Robin Hood: Prince of Thieves and The Count of Monte Cristo ), has put together an enjoyable and unique film. The acting, score, and sets were very well done, and the scenery (filmed in Spain and Malta) is beautiful. The movie's PG-13 rating is due to the corpses shown during Clavius' investigation and the violence in the opening battle scene, which is somewhat mild compared to most action movies. Parents with young children will want to consider these factors when thinking about taking the family to the movie.

Some Christians may wonder why the movie doesn't show every detail about these events found in the Gospels. For example, Risen does not show the trials or beatings of Jesus, and it does not show all of the post-Resurrection appearances. While many of these things are discussed, they aren't shown because the movie is shown through the perspective of Clavius. If he didn't see these things, then they are not included. This does not mean that the filmmakers deny these events; it only means tha t they were not part of Clavius' story.

A great strength of this film is that Clavius is forced to investigate the evidence for the Resurrection of Jesus.

A great strength of this film is that Clavius is forced to investigate the evidence for the Resurrection of Jesus. He cannot simply ignore the evidence, pretending it doesn't exist as so many skeptics do today. "Jesus Mythers" ignorantly proclaim that Jesus was not even a real person , and that the ideas about Him were copied from pagan deities —despite the fact that no fewer than 17 ancient non-Christian sources (Jewish, Roman, and Gnostic) discuss Jesus as a real person in Israel in the first century AD. When we add the Holy-Spirit-inspired writings of the New Testament authors, we have at least 25 ancient sources for the life of Jesus, including the infallible Word of God.

Because of Clavius' investigation, viewers are presented with some basic apologetic arguments for the truth of the Resurrection, such as the changed lives of the disciples, the empty tomb, and the inability of critics to develop a reasonable alternative that accounts for the facts that even the majority of skeptical scholars accept . Skeptics should not assume that a complete defense of the Resurrection is provided in this film. Much more could be said to defend this precious truth (see Risen Without a Doubt , a brand new six-disc, in-depth study on the Crucifixion and Resurrection).

Making Sense of the Unexpected
One of the most moving scenes in the film occurs when Clavius confronts one of the soldiers he had stationed at the tomb. To allow them to promote their claim that the disciples stole the body while they allegedly slept at the tomb, the soldiers are pardoned by Pilate. Clavius tracks one of them to a local tavern and notices the man has suddenly come into some money, confirming Clavius' suspicions that the soldiers were paid off by the Jewish authorities. Here, the v isibly shaken soldier pleads with Clavius to help him make sense of what he witnessed at the tomb the morning of the Resurrection. The stone rolled away and the brightest light he could imagine filled the tomb, causing the soldiers to run in fear.

This scene underscores how people usually interpret evidence in a way consistent with their worldview. The description troubled Clavius because it brought further confirmation for what once seemed impossible but now was becoming evident—the disciples were telling the truth about Jesus rising from the dead. The deeply troubled soldier from the tomb struggled to make sense within his own worldview of what he knew he saw that morning. Figuring It Out

The behavior of the disciples will probably seem a little strange to some viewers, but I appreciated the way they were portrayed. At this point in their lives, they were not mature leaders writing epistles to established churches. They had just been devastated by the Lord's Crucif ixion and then overcome with joy at His Resurrection. The Holy Spirit had not been sent at Pentecost yet. What did all of the recent events mean? What were they expected to do?

Risen shows the disciples sincerely intent on following Jesus but unsure of what to do next. Bartholomew can barely contain his excitement even though he has been brought in for questioning. We see one of them attempting to share the good news on the Galilean seashore, and we see them interacting awkwardly with a Gentile. Peter has to admit his inability to answer certain theological questions about Jesus. While part of the artistic license in the film, these are all believable scenarios, and I often found their portrayal refreshing. Caveats

As a work of historical fiction, Risen necessarily utilizes artistic license.

As a work of historical fiction, Risen necessarily utilizes artistic license, and it is in this area that some Christians may have a problem with the film. O bviously, Clavius is not mentioned by name in Scripture, although there was surely a soldier in charge of affairs at the Crucifixion. Similarly, the entire concept of a manhunt to find the Lord's body is not mentioned in Scripture. But just because the Bible doesn't mention one, does not mean that it did not happen—Pilate and the Jewish leaders would have had plenty of reasons for wanting to find the body. So the storyline is plausible at many points.

A handful of inaccuracies appear in the film, but they do not undermine key biblical doctrines. Instead, the imprecisions are found on secondary matters (if such a thing can be said about Scripture). For example, in the film, the Lord's appearance to the disciples with Thomas present ( John 20:26 ) occurs approximately four days after the Resurrection rather than eight days later as mentioned by the Bible. This was likely done to keep the suspense and pacing of the film, but it isn't accurate. A few more timing and loca tion issues could be cited, but that would require giving away spoilers.

The depiction of Mary Magdalene was a little disappointing, since the filmmakers followed the traditional idea that she was a former prostitute. The Bible does reveal that she was a woman from whom Jesus had cast seven demons ( Luke 8:2 ). While it is possible that she had been "a woman of the street" (the term used in the film), the Bible does not clearly tell us this, and she had certainly become a faithful follower of Christ by the time of His Crucifixion and Resurrection. I thought the film played up this aspect a little too much.

Clavius (Joseph Fiennes) and Lucius (Tom Felton) execute orders from Pontius Pilate in Columbia Pictures' Risen , in theaters nationwide February 19, 2016. Recommendation

Conservative Christians have grown wary of Hollywood portrayals of biblical people and events, and rightly so. Some recent Hollywood movies centered on biblical events have been woefully inaccurate with directors seemingly intent on attacking Scripture and defaming God's character (see Noah and, to a lesser extent, Exodus: Gods and Kings ). It would be entirely unfair to compare the inaccuracies on minor issues in Risen to the outright assault on Scripture and God's character seen in these other films. For example, in the scene where Jesus appears to the disciples with Thomas present, Risen shows this as a real miraculous event. One gets the impression that these other films, had they dealt with the same subject matter, would have severely twisted the event or denied it altogether. Kevin Reynolds has made an excellent film while treating the overall biblical message and the beliefs of Christians with respect.

I highly recommend Risen for Christians and non-Christians alike.< /blockquote>

In my first viewing of the movie, I watched with the primary intent of trying to find mistakes and red flags. Other than the issues cited above, it was excellent. A few days later, I watched it again with the goal of simply watching it as a movie, and I absolutely loved it.

I highly recommend Risen for Christians and non-Christians alike. Since the Resurrection is often neglected or thrown in as an afterthought to discussions about the Cross, I am thrilled that it is the central focus of an excellent movie. The film provides a wonderful opportunity to discuss the most important events in human history with unbelievers, which naturally leads to a presentation of the gospel itself.

Moreover, brethren, I declare to you the gospel which I preached to you, which also you received and in which you stand, by which also you are saved, if you hold fast that word which I preached to you—unless you believed in vain.

For I delivered to you first o f all that which I also received: that Christ died for our sins according to the Scriptures, and that He was buried, and that He rose again the third day according to the Scriptures. ( 1 Corinthians 15:1–4 )

Comments:
This article has 0 comment, leave your comment.[2][3]

References

  1. ^ More General News » (www.modernghana.com)
  2. ^ comment, (www.modernghana.com)
  3. ^ leave your comment. (www.modernghana.com)

The ‘Deadpool’ Movie Breaks Records And Draws In Big Celebrity Fans


The Deadpool movie[1] broke a couple records with its debut weekend.

The $41.5 million opening day became both the record for a February release and an R-rated movie release.

In fact, for a while, the Deadpool movie was seen on Rotten Tomatoes with a nearly perfect score and it's still scoring high with the critics at 84%. That number is significantly higher with audiences, according to the review site. With audiences, the Deadpool movie is showing a 95% fresh rating.

A lot of the critics marking the Deadpool movie as rotten, however, could easily be discredited.

Anyone that was a fan of Deadpool before he stepped out of the comic books and onto the big screen knows that he's a little different than the other heroes, anti-heroes, and villains hosted by Marvel. The main character is full of crude humor, pop-culture references, and fourth wall breaks. In fact, Deadpool is so self-aware that he knows he's a character in a comic book.

[ Below is something Ryan Reynolds made in reference to the petition going around asking Deadpool to host SNL. Disclaimer: A lot of strong language. ]

A lot of the critics marking the Deadpool movie as rotten are using reasons that spit in the face of who the character was always meant to be. Several reviews make remarks about the immense amount of foul language[4] while others thought the fourth wall breaks were to try and make the main character seem edgy. It's unlikely that any of those critics were familiar with the comic books.

The most disputed reviews giving a thumbs down to the movie accused it of not taking enough risks. Those critics accused the Deadpool movie of being cookie cutter.

One has to wonder if any of those critics were actually watching the right film.

Despite the critics, there are celebrities coming out of the woodwork to make it known just how awesome they thought the Deadpool movie really was. Many of them are of the highest authority where superhero movies are concerned, mostly because they've been a part of making them.

Marvel's good-ol'-boy Chris Evans, of Captain America, tweeted to Ryan Reynolds that he definitely approved of the movie.

In a show of Marvel brotherhood[9], Ryan Reynolds responded by indicating he was already choosing sides in the upcoming Captain America: Civil War.

Normally, this might have been the end of the interaction, but there are going to be two teams in Captain America: Civil War and Reynolds' #teamcap shout-out was not going un-noted by #teamironman. Robert Downey Jr. was quick to put in his two cents.

This back and forth went on for a couple more responses, with Chris Evans remarking on the dirty language used in the Deadpool movie and Ryan Reynolds reminding Robert Downey Jr. that, like his Deadpool character, he can be as random as they come.

Evans and Downey Jr., weren't the only alter-egos of superheroes to step in with their opinions, either.

Chris Pratt, Starlord from Guardians of the Galaxy, and Nicholas Hoult, from the newer X-Men films, both felt the need to respond to bits from the Deadpool movie.

On top of that, Paul Feig, writer/director for the new Ghostbusters movie, indicated that he believed the Deadpool movie was on the same level as This is the End (2013).

Everyone is talking about the Deadpool movie and what it means for Hollywood and superhero films in general. Fans are still hitting the theaters and making art depicting their favorite anti-hero. When it comes down to it, green-lighting the sequel before the first film even got to theaters[29] might have been the smartest idea Twentieth Century Fox has ever had.

[ Photo by Twentieth Century Fox ]

References

  1. ^ The Deadpool movie (www.foxmovies.com)
  2. ^ https://t.co/7pyPEMysdY (t.co)
  3. ^ February 20, 2016 (twitter.com)
  4. ^ Several reviews make remarks about the immense amount of foul language (www.rottentomatoes.com)
  5. ^ @VancityReynolds (twitter.com)
  6. ^ #killedit (twitter.com)
  7. ^ #maximumeffort (twitter.com)
  8. ^ February 20, 2016 (twitter.com)
  9. ^ Marvel brotherhood (comicbook.com)
  10. ^ @VancityReynolds (twitter.com)
  11. ^ February 20, 2016 (twitter.com)
  12. ^ @RobertDowneyJr (twitter.com)
  13. ^ @VancityReynolds (twitter.com)
  14. ^ February 21, 2016 (twitter.com)
  15. ^ #TeamHelloKitty (twitter.com)
  16. ^ https://t.co/Kqzpf5ih6O (t.co)
  17. ^ February 21, 2016 (twitter.com)
  18. ^ #Deadpool (twitter.com)
  19. ^ @VancityReynolds (twitter.com)
  20. ^ @nottjmiller (twitter.com)
  21. ^ February 18, 2016 (twitter.com)
  22. ^ #Deadpool (twitter.com)
  23. ^ @edskrein (twitter.com)
  24. ^ @VancityReynolds (twitter.com)
  25. < li>^ @Kinberg (twitter.com)
  26. ^ February 14, 2016 (twitter.com)
  27. ^ https://t.co/eSmkQbns6e (t.co)
  28. ^ February 19, 2016 (twitter.com)
  29. ^ sequel before the first film even got to theaters (www.ew.com)
  30. ^ https://t.co/RA2K3jcKth (t.co)
  31. ^ pic.twitter.com/CbcDbDaXNb (t.co)
  32. ^ February 20, 2016 (twitter.com)

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