Lately I've been mulling over three films that all made my "Top 10 of 2012" list, but which I have not really written about in depth (until now). Over at Mere Orthodoxy I wrote two articles about these films that you can find by clicking on the titles below.
Best Films of 2012
Perhaps appropriately, many of the best films of 2012 dealt in some way with endings. In the year in which the world was to end, many masterpieces explored the idea of ending, finality, conclusion—whether the end of slavery (Lincoln), the end of innocence (Moonrise Kingdom), the end of life (The Grey, Amour, Les Miserables, Skyfall, Killing Them Softly, etc.), the end of an affair (The Deep Blue Sea), a manhunt (Zero Dark Thirty) or the world itself (Turin Horse).
75 Best Film Performances of 2012
Best Documentaries of 2012
Looper
Movies like Looper give me hope for American cinema. Rian Johnson's film is a tight, stylish, deftly scripted crowd pleaser, a clever film that engages the audience viscerally, cognitively and emotionally. Its also a film that takes a schoolboy's delight in the magic and thrill of cinema. Rian Johnson is film nerd, fanboy, and B-movie genre postmodern in the vein of Tarantino, with a smidge less irony and a bit more Raymond Chandler noir. His films (Brick, The Brothers Bloom) are characterized by anachronistic pop culture pastiche and the merging of multiple genre tropes.
What We Know About Malick's To the Wonder
Batman, Dickens, and Resurrection
The impulse toward resurrection is grand motif of human existence: it's the arc of all creation and everyone within it, groaning and aching for the dawn of better days, when all is put to rights and evil is subdued. The hope of resurrection is the thing Sydney Carton takes refuge in before his own death in A Tale of Two Cities, as he rests in the truth of John 11:25-26:"I am the resurrection and the life. He who believes in me will live, even though he dies; and whoever lives and believes in me will never die."
Beasts of the Southern Wild
I loved the world of this film, and the photography and (sometimes) the music. The first ten minutes or so are really superb. And I'll be darned if Hushpuppy isn't the most adorably precocious, pint-sized heroine since Abigail Breslin in Little Miss Sunshine.But as the film goes on it feels more and more contrived, with emotional highs and lows that the film doesn't earn and audiences shouldn't be expected to be moved by. In the end, the film's utopian, dream-like celebration of Southern culture and a sort of "it takes a village" communitarianism rings somewhat false.
Best Films of the First Half
Another year half-way through, another pause to reflect on the best films of the first half. Last year by this time, The Tree of Life topped my list, followed by Meek's Cutoff. Below are my picks for the five best films I've seen in theaters in the first six months of 2012.
Prometheus
In Prometheus, Scott's vision of the relationship between Creator and created is one of spite and hostility. In the Christian narrative, God is a benevolent creator who takes on the form of his creation so he can rescue and redeem those he created in his image. In Prometheus, the "gods" also seem to have created man in their image, and yet they despise humanity and want to destroy it. Incarnation for the purposes of redemption is re-imagined as infection for the purposes of eradication.
Memorial Play
Part of the sadness and elegiac quality of something like commencement is that we remember what it was like to be young and free, "Golden in the mercy of his means," with the world as our oyster. We lament that we've lost the sense of adventure, bravery, and risk that electrified those long lost days. And yet the truth is we need not abandon such things. We should be lifelong learners, career explorers, always re-imagining the world and discovering its wonders anew.
The Divine Guide in Terrence Malick’s "Tree of Life"
Among the many questions prompted by a close viewing of this finale sequence—and indeed, the whole film—is the identity and meaning of the mystery woman seen with Jessica Chastain’s older and younger self in the “Amen” sequence. She shows up in part (usually just her hands) and in full on a number of occasions throughout the film--especially at the beginning of Jack’s life and in the film’s final fifteen minutes.
33 Films That Take Faith Seriously
Christian moviegoers sometimes lament the dearth of good, positive, realistic portrayals of faith in film. If Christians are portrayed in film, it’s usually as right-wing zealots (Citizen Ruth), scary pentecostals (Jesus Camp), or psychotic killers (Night of the Hunter). Or faith is reduced to schmaltzy simplicity, as in most “Christian films” (Facing the Giants, Fire Proof). But many films throughout cinema history have actually provided rich, artful portraits of faith. The following is a list of 33 films that take faith seriously; films I believe every Christian should make a point to see.
Moving Beyond "Christian Films"
I long for the day when we will have moved on from “Christian film" as a category. I long for the day when evangelicals will make excellent films that are beautiful, lasting, complex and true. I long for the day when Christian moviegoers will appreciate truly great films and encounter God through them, regardless of if they are made by Christians or pagans.
The Horror of Grace
This, I think, is the greatest, most mind-blowing quality of God's grace, while at the same time being the hardest for humanity to swallow: His grace is sufficient for all, and it saves unconditionally, based not on our merits or relative levels of moral stature. We're all sinners, fallen short of the glory of God and alienated from him, and thus we all need exactly the same grace from Him to repair the breach.
31 Best Films Directed by Women
The Grey
The Grey is a movie about death. But don't worry, it's not depressing. It's about dying well, dying humanely. What separates humans from animals? Among other things: the way that we die. Sure, we are like animals in that we instinctively fight to the death. Like wolves, we do not go quietly into the good night.
What the Academy Should Have Nominated
The 2012 Oscar nominations were announced this morning, and as is typically the case, there are some hits and some misses. I'm pleased that the Academy recognized The Tree of Life (best picture, best director, best cinematography), but I'm also perplexed by some of its other choices (Demian Bichir best actor for A Better Life? No Michael Fassbender?). If I were to have a say in the nominations, they would have gone something like this.
Notes From the Tilt-a-Whirl
I was somewhat skeptical going in to Tilt-a-Whirl; mostly because "Christian films" of any sort are almost always a let down. But this was a pleasant surprise—a genuinely compelling, well-made film that never feels false or inauthentic and actually leaves us with insights to ponder and stirs our hearts and minds toward God.