Currently viewing the tag: "Christianity"

vivianVivian Versus the Apocalypse (2012) by Katie Coyle:

In my apocalypse fiction travels, I haven’t done a lot of slow crumbles. This YA novel written by a MFA-gettin’ author whom my one friend knew is about a declining America thanks to environmental  shenanigans, violence, and an aggressive new cult called the Church of America. Our heroine is Vivian Apple, whose parents have converted to the Church and vanished on what was supposed to be Rapture Day.

There are YA novel and coming of age tale tropes: Apple is a goody-goody with a wilder friend and a dreamy boy with dreamy eyes who also has a — dun dun dun — secret. There’s a whisper of over liberalism, based mostly on the fact that the Church of America is hardcore mocking American Christian conservatism (not that that’s not frequently deserved). Even the existence of decent religious people doesn’t fully wash away the suggestion that this is all a metaphor for fleeing flyover country. But hell, that’s okay. Vivian the character herself seems to be a 16-year-old liberal. Sometimes you have to get to the promised land of California. Everything is okay except for the Walking Dead-esque “no, I won’t use a gun!” moment of stupid. (Nothing in the world is as stupid as a woman objecting to her sheriff husband teaching their 11-year-old son to use a gun in the middle of zombie apocalypse, because it’s not safe. Nothing. I haven’t watched that show in a while.)

Fundamentally, all of these pieces work together much better than they should because Coyle is a solid, serious writer. And Vivian Apple is a sophisticated, but not overly adult character who has to deal with learning that her parents were real, perhaps not good people and that the world is not chock full of answers. That world which may also end in a few months. See, this new Church of Frick (Pittsburgh Homestead Strike shoutout? Probably! The books begins in Pittsburgh!) has a holy book. That book mentions two raptures. This is a great detail, because it sends those Believers left behind into a pious frenzy. They don’t want to be left behind again. That makes some of them very mean, and very against fornicating and homosexuality and such.

I’m still not sure how I feel about the revelations with the would-be villain at the end of the book. Plus, every YA novel and comic book movie now has to end not in an awesome open-ended way, but in a “YEP, A SEQUEL’S A-COMIN'” way.  This bugs me, but I’ll be reading the sequel without question.

This is the kind of book that gives YA fiction a good name. There’s nothing unserious about it, even if it’s not perfect.

Long_Loud_Silence_The_-_Tucker_Wilson_-_1952-_Dell_-SF_-_G_-10_1024x1024The Long, Loud Silence (1952) by Wilson A. Tucker:

My copy of this early nuclear doom novel has the most gorgeous pulp cover. It’s a cheap paperback from the mid ’50s, but it looks amazing. I had meant to read it months before, but I would have bought it just for the cover (as I did a few other books I may or may not read).

Unfortunately, the cover is the best thing about this book. It’s not all bad. It has a stoic vibe that works well enough to hold interest for the 180-some pages. Basically, the US was attacked by nukes, regular bombs, and disease bombs. Unfortunately this happened right as our hero Russell Gary is on a major bender. He wakes up to a bad hangover of a dead hotel, a dead city, and oops, soldiers are preventing him from going back across the Mississippi river. This we have our class system. (I guess the West IS better. No, it is.)

Gary is a mildly interesting sort. He is a practical, unpleasant, manly man who smacks a girl, and keeps denying that she’s 19, because she looks young (spoiler alert: seducing him convinces him of her age). Wilson manages to write the first female character we meet as a ditz who clings to Gary, and who is wasting post-apocalyptic time collecting jewels.

There’s other awkwardness: Some years after the event, Gary implies at one point that he’s going to go back to a farmhouse of people in order to groom their child to be into him later. Unless I read that way wrong, and I rather hope I did.

For all the dramatic setting, this is kind of a character study of a man who was never very pleasant or kind, who becomes colder and crueler over the years, but never actually becomes a full monster. There’s some nuance in this picture. He saves a child from cannibals, then uses that fact to get a farmhouse and a place to stay and work for the winter. He never murders or steals without cause. But he’s a bit of an asshole (maybe he always was. There’s interesting hints about what war did to him that aren’t really mentioned after the beginning). And the part where he finally succeeds at his years-long goal of getting across the river is…odd. It’s the only part that doesn’t feel quite real in the book. I suppose it had to happen.

The ending is supposed to be cute, I think. I suppose it is a fair capper to all that has happened. Maybe ditzes have good survival skills after all.

mad maxMad Max: Fury Road (2015), directed by George Miller, starring myriad hotties and/or people in awkward masks

Somehow — somehow I accidentally saw the Fast and the Furious Seven (I forget its actual title, therefore I don’t know what to italicize!) in theaters, not having seen a single one of the previous six movies. (It’s because I was supposed to see American Sniper, and then I didn’t get to see that either, and everything was stupid.) I regret that all the more when I realize I saw “sure, cars can fly, and let’s film this action sequel in the dark because Paul Walker is unfortunately dead” in theaters instead of Fury Road. I watched this on the biggest available TV, but I curse myself for not seeing it theaters, the way I curse the six-year-old me who saw Free Willy while my brother and cousin trembled in exhilaration and fear at the T-Rex in Jurassic Park.

This is an action movie with strong characterization and world building, that doesn’t spoonfeed context to you. This is a manly action movie that is chock full of bad-ass women. This is a post-apocalyptic movie whose world defies logic and has way too much pageantry and nobody cares, because it’s awesome. This is a movie in which gorgeous women at one point spray each other with a hose, and the camera never leers. (Seriously, seriously picture that scene as shot by Michael Bay or a thousand other assholes).

It’s an ugly, bizarre world in Fury Road, but once you accept that this is is a freaky, car-based cult in control of almost all the resources around — yes, even resources for flaming guitar trucks —  it’s difficult not to be hooked. And for me, that’s saying something. The aesthetic in this film is is exactly the type I dislike because it feels bullshit and embarrassingly cheesy. It feels like people playing dress-up in fake gladiator garb. It feels awkward and inherently low budget. Somehow this movie completely kills that awkwardness through the power of serious, quality acting, and strange amounts of heart.

And with really scary, unexplained shit like those hunched over stilt people. I never want to know what that was about. I never want to know exactly “who killed the world” or how and why Immortan Joe’s cult came to be so quickly and effectively. I know this is mostly action movie that is about a million serious things, the way Attack the Block! is about a lot more than neon aliens. Yet it’s also just a good action movie.

I know a libertarian who hated this film. But once you see “we are not property” (libertarian tears) written on the walls of the wives’ cell, you should be getting hopeful. And once Max and Furiosa fight for the first time, you should be fully absorbed into George Miller’s brain. Do not resist. This movie is so gorgeous that occasional action movie cliches like Furiosa dropping to her knees in the sand in anguish, or the slightly intrusive non-diegetic music feel more frustrating than they would be in an inferior movie.

signsSigns (2002), directed by M. Night Shyamalan, starring Mel Gibson’s sanity, Joaquin Phoenix, a Culkin, wee Abigail Breslin

Honestly, this film, plus Fury Road, plus Miracle Mile are on my short list of “I do not give a shit if it doesn’t make sense.” And they all involve at least the threat of world ending. Fury Road works becomes of pure audacity and seriousness in the face of absurdity. Miracle Mile is a nightmare, in logic and in pacing, and in ever-growing surrealism. But to me, Signs has always been too scary to mock. It may not be your nightmare, but it is one of mine.

I was 15 when I saw it in the theater with a group of friends. It was quite simply one of those great theater-going moments, where the place buzzes with energy but without distraction or loud noises getting in the way of the enjoyment of the movie (or enhancing the enjoyment, like when the most Canadian man in the world yelled “GET ‘ER PHOONE NUMBER!” at the screen when Mark Wahlberg kissed Helena Bonham Apewoman in Planet of the Apes). Well, quiet except for that moment when Joaquin Phoenix’s character is watching the footage from the children’s birthday party in which something very scary happens. Phoenix’s character shrieks, I shrieked out loud in the crowded theater. Now, I couldn’t sleep for three days after seeing this movie (shut up, my parents live near a cornfield in Pennsylvania), but it was worth it in the end.

It’s a claustrophobic alien movie that’s funny, terrifying, and slow-building. The acting is fantastic from every single person (remember when Mel Gibson was awesome? I do). Maybe there was fluoride in the water, or some weird mineral. Maybe it’s the pipes! Maybe it’s all a metaphor. Maybe the aliens are demons. It doesn’t matter. The movie justifies its own logical evasions by being awesome and scary. If two or three things came together to save the day, it would be Hollywood bullshit. But in the narrative, the obviousness of the puzzle piece is on purpose. This is a world in which everything came together so that Mel Gibson’s character could save his son. Maybe that’s not our world. That’s okay.

(Honestly, the least credible thing to me is the happy ending. Those children would need MASSIVE therapy. Massive. The adults, too.)

I'm the worst professor in history!The most infuriating thing about the 2012 Christian film God is Not Dead is not that it’s an email forward of a film. Nor is it that I am not a Christian, and therefore this movie isn’t for me. No, it’s simply that this doesn’t have to be so appalling, no matter the yay-Jesus sentiment.

There are numerous dodgy side plots including a Muslim girl who wants to find Jesus (and who wears short sleeves and a sloppy hijab, which I suppose is possible, but sure didn’t look like anything I’ve seen), a woman with cancer (and an I <3 Evolution bumper sticker, which sure seems like a Real Thing a Secular Human Would Have) and various other tedious cardboard cutouts in vaguely human shape. The main event, however, is the battle between painfully clean cut college student Josh and his villainous, atheist, philosophy professor played by Kevin Sorbo, who is both the best actor and the least believable person in the movie.

Professor Hercules isn’t content to simply teach philosophy, no, he demands that each member of his class write “God is dead” on a piece of paper and then sign it in order to pass the class. Josh objects to this because he loves Jesus. The thing is, this is a horrible, bullshit assignment particularly in a philosophy class. Atheist boyfriend who was watching the film for camp value said he wouldn’t do such an assignment. I agreed. There’s an obvious principle at stake (and I will grant that some public schools might complete it because they’re wusses, but enough of them wouldn’t.)

This kind of activity would make you a bad teacher, especially in a setting where it’s not about factually right or wrong answers. This is a cheap, plastic way of making the prof the villain. Instead of making the debate truly rhetorical and religious, the menacing secularism has to be browbeaten into everyone. And maybe it’s some kind of metaphor for the world at large, but within a classroom setting, it’s terrible and false.

In short, this makes even the staunchest atheist want to root for Josh for contrarianism’s sake. (I also want him to call Fox News, Breitbart, and Rush Limbaugh and become a national news story, because that would totally work). So, the young, earnest lad decides to fight his professor and debate in front of the class. He’s much too good at it, yet it’s also completely muddled and nonsensical. His metaphor-for-Christians-who-don’t-want-to-make-waves-in-the-secular-world girlfriend is pissed off and dumps him. But Josh soldiers on.

Oh, and professor has a beautiful, Christian girlfriend. She frowns a lot because he’s such an atheist.

The end — spoilers — is the worst. First of all, Josh appears to have converted almost his entire class to Christianity at the end of his final debate. This is, ironically for such an anti-secular movie, pure Hollywood claptrap. Wouldn’t it be more fitting if after class, one shy student came up to him and asked him for more info about Jesus? Then Christians would know that this wasn’t some fairytale confirming all that they believe, but that bringing people over to the Lord takes some work. The film appears to be telling Christians that if they just stand up for God in class, they’ll convert heathens by the dozens. A little humbleness about the state of this here fallen world seems more appropriate and better then this wish-fulfillment.

(I could, and may, write another rant on the difficulties of message movies and making them not Godawful. This relates to libertarian feelings and the several other terrible Christian movies I have watched out of curiosity.)

Prof Hercules had his own reasons to disbelieve in God. However, at the end, to the sounds of the Newsboys’ Christian rock jamz, he gets run over by a car conveniently next to these pastor and his friend who had had car trouble in the earlier film. It was meant to be, see. Hercules comes home to Jesus as he dies in the street. Yep. He converts, thanks to the pastor, but he still dies. And presumably directly in front of his bloodied corpses, the pastor stands in the rainy streets smiling because at least Prof is home now, and someone has even texted him “God’s not dead.” (“God’s not dead — but you are” more accurately.) The pastors or pastor and friend (I forget/who cares) then exchange a line about how “what happened tonight is a cause for celebration. Pain yes, but only for a few minutes. Then, think of the joy of heaven.” Okay, but can you not smile so wide directly in front of the dead man smeared across the street? Can we not immediately be quite so delighted?

The final scenes involve Josh, every other minor character, and someone from Duck Dynasty rocking out to the Newsboys while celebrating his victory over the professor — which, considering that he’s dead, seems a little like adding insult to injury. (Plus, the final scene encourages texting during a concert, which is definitely the work of Satan.)

Horrible, robotic inhuman attitudes permeate this movie, and this ending is the capper. There is no sadness that a man who was just coming around to the Lord, and you know, was a human being in addition to that, is dead. They’re all happy about it. This is one reason why the non-religious find religion — and religious films such as this — cold. How about a little respect for this life, not just pleasure in leveling up to Jesus?

When we’re talking about Jesus, songs are so much different than movies. Suburban Christian rock songs may not be. But painful country music can be beautiful, human, and accessible to the non-Christian just because of the depth of feeling (or even the wrath, if you have the Johnny Cash voice to match God cutting us all down sentiments).

Perhaps because Professor Hercules losing his mother is what made him lose his faith, and this tune is about the very same tragedy, I found myself thinking about “Can The Circle Be Unbroken” after watching God is Not Dead.

First recorded by The Carter Family in 1927, the song has been played many times by many people, but that trio’s version is it for me, because it’s just so brutal. Often in later covers the song is played more as a cheerful, hopeful gospel number. The circle will be unbroken by and by. Everything will be alright.

The Carter Family were not so sure.

AP Carter rewrote a hymn that seems to be a lot more chipper, like the later covers have been. But the Carters’ “Can the Circle be Unbroken” is not joyful or certain, but pleading. The strange, flat Virginia harmonies of Maybelle and Sara Carter make the tale of a mother dying eerie and heartfelt. And in a line that has made me tear up more than once, they sing “Lord I told the undertaker/Undertaker please drive slow/for that body you are hauling/Lord I hate to see her go.”

Maybe — maybe “by and by” they’ll all be together again in heaven. They do believe that. But that doesn’t stop their pain now. It doesn’t even stop the dreadful grief of wanting to keep the body of the loved one. The body is just a vessel, right? The soul is gone to heaven. And they still hate to see what’s left of her go.

That sort of religious feeling — that sort of spreading of a message that says, yes, we’ll probably be in heaven later, but it sure is awful now — is worlds away from the self-satisfaction of God is Not Dead. Religion is supposed to fill those holes in your heart that appear when, oh, say your dear mother dies. I fail to see the good in it if it morbidly cheers the death of someone — even someone who has finally found Jesus.