The King of Kings, from Angel Studios

For millions of families, reading A Christmas Carol is a holiday tradition. For Charles Dickens’ family, it was reading The Life of Our Lord, which he also wrote (obviously based on Biblical sources). However, the rest of the world would not be able to read it until 1934, after the death of his four children. It was a major literary event at the time, but the novella has sadly fallen out of fashion. Yet, the story is timeless and Dickens remains perennially popular. Animator Seong-ho Jang adapts Dickens’ adapted story and depicts its first telling in The King of Kings, released by Angel Studios, which opens this Friday in theaters.

If you do not know the basic events of the life of Christ by now, either your Sunday School teacher should be ashamed, or you are just a heathen. Dickens and Jang give us all the highlights: the manger, the fish and loaves, the moneychangers, and indeed the Last Supper (which is currently having its movie moment). However, it is all seen through the eyes of Dickens, his son Walter, and their fat cat, Willa.

Initially, the naughty Walter disrupted his father’s staged reading of A Christmas Carol with his King Arthur make-believe games. However, at the behest of his eternally patient wife Catherine, Dickens tells him the story of a far greater king, who eventually inspired the legend of King Arthur—even though he was not really a king in the traditional sense.

Some of the business with Walter and Willa gets a little too silly, but the episodes of Jesus’s life are handled quite nicely. Jang and English-language co-writer Rob Edwards (who co-wrote Disney’s Treasure Planet and The Princess and the Frog) fully explore the drama of each memorable story, but always in a respectful way. The film is undeniably reverent, but it never feels stilted or sermon-like. Arguably, Jang’s film is more successful than its 1961 namesake at realizing Biblical stories as big-screen entertainment.

Unfortunately, the character design is a little clunky. Apparently, people had honking big noses back during the days of antiquity. However, there are several visually arresting sequences that appropriately invoke awe and “mystery,” as the term is understood in a Biblical context. Indeed, these include every big crucial scene, such as the crucifixion.

The all-star voice cast is also quite a surprise, starting with Kenneth Branagh, who probably covers the greatest range, from comedy as Dickens, the exasperated father, to hushed devotion, as Dickens, the faithful Christian. Uma Thurman also brings warmth to the somewhat slap-sticky prelude as kind-hearted Catherine.

Without question, the voice of Jesus represented a tricky bit of casting, but Oscar Isaac turned out to be a wise choice. He definitely sounds like an “important voice,” but he is not instantly recognizable. Likewise, Forest Whitaker has the right modestly devout tone for Peter. Sir Ben Kingsley and Pierce Brosnan lend their commanding vocal talents as High Priest Caiaphas and Pontius Pilate, respectively, while prolific voice-over artist Fred Tatasciore (whose credits include The Day the Earth Blew Up and JLA Adventures: Trapped in Time) can be heard as Pharisee Eleazar.

Between Borders: Seeking Asylum from Russian Oppression

If ever there were a people who could lay claim to the title of history’s greatest victims, it just might be the Armenians. They survived the Ottoman Empire’s systemic campaign of genocide and endured oppression in the Soviet Union, Azerbaijan, Russia, and Iran. Yet, instead of wallowing in self-pity or lashing out in violence, the Petrosyan family just wants to be left alone. Nevertheless, they must prove their oppressed status during an asylum hearing in Mark Freiburger’s Between Borders, which releases today on VOD.

Ivan Petrosyan is a literal rocket science who works for the Soviet space program. His wife Violetta is a school principal. Yet, despite their advanced education, they never feel comfortable in their Azerbaijani society, outside their Armenian enclave. Even though the Soviet Union still technically exists, it is too preoccupied with its own collapse to care about reignited tensions over Nagorno-Karabakh. The Petrosyans have been through this before, expecting the evil imperial government would oncde again tamp down hostilities. However, this time is different.

First, they lose their jobs. Then their neighbors are killed in cold blood. That snaps them out of their denial, so they join Violetta’s parents in Russia. Technically, the Russian government accepts them, but Russian is openly hostile, especially the corrupt cops. However, her parents’ church, with the support of their American benefactors, offer the Petrosyans crucial material and spiritual support. In fact, they are so struck by the Chruch’s generosity, their faith slowly switches from Communism to Christianity.

Yes, this is basically a faith-based film, but it is an unusually competent one. The message is rarely in viewers faces. Yet, somewhat unexpectedly, one of the film’s greatest, most genuinely touching scene focuses on Duane, an American volunteer, who explains to Ivan how he seeks to serve as a means of honoring his late wife. Seriously, this is a no-dry-eyes scene that Stelio Savante absolutely nails.

The Shift, from Angel Studios

Maybe we aren’t trapped in a digital matrix. Maybe the Devil “shifts” people between alternate parallel realities instead. The Mephistophelean character never exactly calls himself that, but the so-called “Benefactor” definitely sees himself as a rival to the Man Upstairs. It turns out faith-based science fiction finds a way to give dystopian and multiversal themes a new twist in director-screenwriter Brock Heasley’s The Shift, produced by Angel Studios (the Sound of Freedom distributor), which opens Friday in theaters.

Kevin Garner was finance shark who found redemption when his future wife, Molly, approached him on a dare. Thanks to her influence, he went back to church and started acting like a good husband and father. However, the death of their young son sent him spiraling down again. That is when Satan/The Benefactor approaches Garner.

It turns out, Garner has been his go-to guy in every other dimension, becoming his Faustian enforcer, to enjoy all the hedonistic perks that position entails. He can’t “shift” anyone though. Only the Benefactor’s secret “shifter” operatives, with their special shifting bracelets, can slip innocent victims into an alternation reality.

 

Much to the Benefactor’s surprise, this Garner turns him down, because he still has faith.  As punishment, the Satanic overlord shifts Garner to his grimmest, most dystopian reality, where his evil powers are openly recognized and feared. Forced to live underground, Garner clings to the hope that he can reunite with Molly in another reality.

The conclusion is a little clunky, but the guts of The Shift have some surprisingly fresh multiversal science fiction elements, especially the way the dystopian characters relate to their alternate selves. Heasley’s Job-riffing script definitely reflects an Evangelical Christian perspective, but it goes for long extended periods without appealing to faith. Of course, the Devil is evil and nasty all the way through, but the same could be said for plenty of secular horror movies.

Mirando al Cielo, More Faith from Fathom

Jose Sanchez del Rio is a saint for all Catholics. He was venerated by Pope John Paul II, beautified by Pope Benedict XVI, and canonized by Francis (presumably with the permission of his master, Xi Jinping). The fourteen-year-old saint would be the first to protest the current Pope’s subservient deal with the CCP, because he was martyred refusing to recant his faith under the Mexican Federales’ torture. Screenwriter-director Antonio Pelaez’s dramatically chronicles the short life and holy passion of Saint Jose in Mirando al Cielo, which has a special one-night screening this Tuesday, via Fathom Events.

Since the not-yet-Saint Jose’s two older brothers joined the Cristero Revolution for religious liberty, against the Calles regime, his parents were reluctant to let their youngest follow their example. However, the just-barely-teenager was determined to defend his faith—and thereby earn his place in heaven. In a twist worthy of classical tragedy, it was his “godfather,” Rafael Picazo Sanchez, the local Federal boss, who will send him there, as we see in flashbacks during corrupt official’s unlikely confession.

None of this is really spoilery, because Pelaez clearly conceived Mirando al Cielo as a passion play. Different standards of narrative story-telling and characterization will apply, regardless if secular heathens like it or not. Yet, no amount dramatic realism will change the fact Saint Jose was tortured to death by the leftist Calles regime, because of his unwavering Catholic faith.

So, this film is a cinematic passion play, but it is also a high-quality period production. Pelaez and cinematographer Wolf Parra take full advantage of some striking locations and they get the most out of their “heavenly” lighting techniques. Mirando al Cielo translates to “Looking at Heaven,” which clearly inspired their visual approach.

Apocalypse Imminent: Jerusalem Countdown

Here’s a wild premise: the Arab countries of the Middle East have united to annihilate Israel. Shocking, right? Believe it or not, Russia supports their cabal. Moreover, it is all foretold in Biblical prophecy. Perhaps that last part lost you, but it is rather central to Harold Cronk’s Evangelical thriller Jerusalem Countdown (trailer here), inspired by the book of the same title by Pastor John Hagee, which opens across the country, except New York City, this Friday.

Arlyn Rockwell is a smuggler, not a mass murder. That is why he reaches out to FBI agent Shane Daughtry after completing his latest assignment. Though initially skeptical of the old good old boy, he is convinced when an assassin comes calling. It seems Rockwell’s fateful job involved several suitcase sized objects. Yet, that is just part of the conspiracy. Daughtry and his former partner (at the Bureau and in ill-concealed romantic tension) Eve Rearden also learn an imminent attack will be made on the Israeli delegation to the latest orchestrated attempt to strong-arm the country into giving up more land, euphemistically called peace talks.

Meanwhile, a failed writer grows increasingly suspicious of his new Iranian neighbors. Suspecting something nefarious, he starts nipping over to have a looksee, cleverly asking the menacing Javed if he could borrow a cup of weaponized plutonium.

Compared to the last explicitly Evangelical film reviewed here, Countdown represents an enormous step forward in professionalism. In many respects, it is a perfectly respectable B-movie (never a term of derision around these parts), with some nicely produced action sequences.

As the lead protagonist, David A.R. White (whose credits include a recurring role on Evening Shade) is a credible and engaging protagonist. Likewise, Anna Zielinski projects a smart, charismatic screen presence as Rearden. Countdown even features Lee “The Six Million Dollar Fall Guy” Majors as Rockwell, which is totally cool. Indeed, for the most part, the ensemble cast is at least professional grade, if not considerably better.

Unfortunately, the proselytizing sequences still play more than a little clunky. To its credit, there is a surprisingly effective scene in which the agnostic agents Daughtry and Rearden start professing doubt in their doubt. However, the scenes of the writer’s wife hard-selling him her faith get repetitive quickly. Frankly, they are naggy both for his character and the audience.

To an extent though, such interludes are too be expected. What is truly disappointing about Countdown is the way in which it casts certain American intelligence personnel as villains. We expect that of Hollywood, but when Evangelical films start demonizing the CIA, what hope is there for agency supporters?

Though none of Countdown takes place in Israel, we do hear the Israeli Prime Minister cogently explain how much land Israel has already given up for peace, only to receive war and terrorism in return. In that respect, the film is quite timely, particularly when the current administration’s position of the day seems to be a return to the pre-1948 borders.

In fact, there is some decent international intrigue afoot, up until the big finish, which will limit the film’s appeal outside the Evangelical community. Regardless, credit is still due to White and Zielinski for keeping viewers focused and vested throughout. A lighter touch would have better served the story, but for the Empire State faithful, Countdown opens tomorrow (8/26) at the Newburgh Showtime Cinemas and at churches and theaters across the country.

NYADFF: Changing Faces

Though thought of as an Islamic country, studies estimate roughly forty percent of Nigeria’s population is Christian, so a Nigerian film with Christian themes is not such a contradiction in terms. Screening this afternoon at the New York African Diaspora Film Festival, Faruk Lasaki’s Changing Faces suggests personal angels and demons are not simply metaphorical, but wield a tangible influence on mortals which we cannot comprehend.

Marriage means little to Lola, the hedonistic journalist. Unmarried herself, she refuses to let a mere trifle like a wedding ring deter her from a promising sexual encounter. However, the devoutly Christian Dale Svenson takes marriage very seriously. He is even prim and proper with his own wife. Assigned to cover the painfully dull architectural conference he will address, the uptight Svenson catches her eye. Over the course of a week, Lola plays an elaborate game of sexual cat and mouse with her prey. Eventually, it indeed turns out that whatever Lola wants, Lola gets.

However, this time conquest comes with a price, both for Lola and Svenson. Faces posits a world in which sex not only occurs on a physical level, but on a spiritual level, involving the spirits people carry with them. By some fluke, Lola and Svenson swap their moral compasses during their night of passion. Now recklessly lecherous, Svenson recognizes something happened to him that night, which threatens to derail his marriage and career. On the wagon and living with integrity, Lola by contrast welcomes her new square life.

While Svenson resorts to a witch doctor’s services in a moment of desperation, Faces ultimately links salvation and faith. Lasaki’s debut narrative film, written by Yinka Ogun, is surprisingly overt in its Christian orientation. It is a morality tale in which morality matters. It suggests a life of rectitude is preferable to the ostensive pleasure of sin. However, like Christian films produced domestically, the production values are spotty and the acting is sometimes suspect. British actress Rachel Young fares the best as Lola, the former temptress. Unfortunately, as Svenson, her fellow countrymen, Marc Baylis comes across like an actor in a Christian film.

Still, in many ways Faces is an intriguing film. His scenes involving the unseen “angels” are particularly clever in their staging and Emmanuel Fagbure has a real screen presence as Lola’s leering supernatural companion. It also serves as an interesting reflection of contemporary Nigeria, in that the inter-racial relationships never raise eyebrows—at least for that specific reason. Though undercut by a weak lead, Faces suggests Lasaki might have some fascinating films in his future. It screens today at the Cowin Center and Monday at the Anthology Film Archives, as part of the NYADFF.

Blues for Smugglers

Driving religion underground only seems to make it stronger. Just ask the early Christians of the Roman Empire or the former Refuseniks and Christian dissidents who survived Soviet Communism. Many of their brave fellow believers risked their lives and freedom to smuggle Bibles through the Iron Curtain. Unfortunately, the independent Christian film, Smuggler’s Ransom recently released on DVD (trailer here), does not do their story justice.

As was the case with jazz, the Communist prosecution of Bible possession ebbed and flowed as the winds from the Kremlin shifted, but owning or acquiring one always entailed danger. Many smugglers were only one-time contraband carriers, like this Dutch Christian, who were called to use their vacations for a higher purpose. In Ransom, the smuggler in question is the daughter of a Cuban nuclear scientist who defected to America.

While attending college in New York, Carmen Gonsolo became an Evangelical Christian (always a risk when you send your kids off to the City) and was compelled to help those oppressed by the Godless Communist system. When the Romanians capture her and discover her father’s identity, they threaten to execute their captive unless he renounces his capitalist freedom. Enter American agent Bill Donely.

In Ransom it seems the West could only spare on agent in this covert rescue operation and the Warsaw Pact could only dedicate one operative in their efforts to stop him. Certainly, the film is not well served by its barebones budget. In fact, the opening sequence cries out for Crow and Tom Servo. However, the simplicity of the story is what really undermines the film. The cast is what it is, but as agent Donely, Anthony Tyler Quinn seems to have an Everett McGill (Twin Peaks, Under Siege 2) vibe going on, which is a good thing.

Certainly the intentions here are good. Perhaps those looking for a short drama (52 minutes) that offers Christian instruction will find this film suits their needs. However, Ransom is like Hollywood’s recent crop of anti-Iraqi freedom films, like Lions for Lambs and War Inc., in that it neglects plot and character for the sake of its message.

Christian filmmaking will continue to improve by necessity, as Hollywood is not about to start meeting the demands of this untapped market. They will have arrived when Evangelical filmmakers release pictures that audiences find themselves caught up in regardless of their personal faith. Although director Michael Apted and co-producer Terrence Malick may not consider themselves Evangelical, their film Amazing Grace is perhaps a good early example of such a work. Ultimately it is not budget constraints that are important, but story. There are a lot of good people who deserve films that do not mock their faith, so I would like to see aspiring Christian filmmakers succeed artistically for their sake.

Coming Attraction: Amazing Grace

It is popular to dismiss religion as the motivation behind all manner of war and brutality in human history. However, Amazing Grace, the new film from director Michael Apted about William Wilberforce’s long campaign the end the British slave trade makes an explicit connection between his Evangelical Christian faith and the cause of justice. While some Christian commentators have expressed concern Wilberforce’s faith would be whitewashed by the filmmakers, on screening the film, it seemed a reasonably prominent element of the drama.

The strongest element of Grace is the dramatization of the parliamentary campaign itself. Ending the slave trade was a noble pursuit, but Wilberforce and his allies still had to make their case and count the votes. Ioan Gruffudd (Mr. Fantastic to comic geeks) is appropriately intense as Wilberforce, showing the tremendous physical and emotional toll of pursuing his cause. Amongst his parliamentary allies was the crafty Charles, Lord Fox, played by the perfectly cast Michael Gambon, who gets all the best lines and delivers them with zest. Albert Finney also co-stars as John Newton, the former slave ship captain turned abolitionist minister (and composer of the hymn which titles the film).

Senegalese singer Youssou N’Dour makes his film acting debut as freed slave and abolition activist Oloudah Equiano. A vocalist of worldwide stature, Youssou N’Dour may also be familiar to jazz listeners for his appearance on Manu Dibango’s Wakafrika album and his own The Guide (Wommat) release, which featured Branford Marsalis. In a small but important role, he shows undeniable screen presence. Based on Grace, it would be great to see him in larger roles. Publishing colleagues may also enjoy the scene of Equiano’s book signing (if only more of our events were as successful).

Youssou N’Dour also contributed to the soundtrack, but by and large it consists of orchestral themes composed David Arnold. It is effective providing emotional cues, but at times transparently manipulative.

If not absolutely perfect (too many flashbacks), Grace is beautifully crafted and boasts a strong cast. Co-produced by the remarkably sane Hollywood star Patricia Heaton, Amazing Grace releases in New York on February 23rd, scheduled to coincide with the 200th anniversary of the passage of Wilberforce’s anti-slavery bill. It is worth checking out.