Flicks & Faith
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Marc Newman

Dr. Marc T. Newman, president of MovieMinistry.com, helps Christians use film to reach others with the Gospel. He also teaches in the School of Communication and the Arts at Regent University.

Posted 8/22/14 at 3:55 AM | Marc Newman

"If I Stay" Just Made Me Want to Leave

If I Stay -- another Young Adult book adaptation from Gayle Forman -- tells the story of cello-playing teen Mia, who reconstitutes her love for her rocker boyfriend Adam through a series of flashbacks that occur as she lies in a coma resulting from a horrific car crash. If you haven't figured out that it's a weepy, you haven't seen the trailers.

If I Stay continues the hip-yet clueless parental theme from The Fault in Our Stars. The mom and dad are exactly the kind of ideal parents every fictional teen seems to have these days: supportive, kind, quirky, oh, and understanding (encouraging, in fact) of their daughter's underage drinking and premarital teen sex. It's cool with 17-year-old Mia's dad that her 18- or 19-year-old boyfriend Adam keeps her out all night on New Year's Eve, because, after all, Adam owns some of her dad's music from "back in the day." The only person who appears to set any rules at all for young Mia's behavior is Mia. She sets her own curfew, but her "fun loving" parents encourage her to break it.

And because it is set amidst a tragedy it allows all the teens watching it to feel so, well, tragic.

No one gets pregnant, no one gets cheated on (despite the presence of Adam's innumerable groupies), no one gets permanently brokenhearted, but there is an awful lot of longing looks. And in the second half of the story -- the one where Mia is in a coma trying to decide if she will stay or go (hence the title) we discover from the wise nurse that whether she lives or dies is completely up to her. The white-tunneled afterlife beckons, but there's no God, none of the living pray (Mia says "God" but it is unclear what her intentions are). FULL POST

Posted 8/20/14 at 4:00 PM | Marc Newman |

1 comment

Making Movie Nights Work: Part One - Planning

No one doubts the entertainment value of a popular Hollywood film. Millions of people turn out every week to pay to see them. Many churches have used film as one of the lures for junior high school “lock-in” nights. But the Scriptures do not demand that we entertain our youth, we are to be equipping them for the work of the gospel. However, that doesn’t mean that we are barred from using winsome methods like movies to introduce that training.

Many youth pastors, college leaders, small group facilitators, and pastors would like to leverage film for something more than filler or a social night out. Unfortunately, there isn’t much help out there for those who want to do it. Telling pastors to “pick a film, promote the event, and do a study,” (without providing any details), leaves a lot of gaps – causing some leaders to think that they just can’t do it. Others try, but are unsatisfied with the results. FULL POST

Posted 9/13/13 at 9:27 PM | Marc Newman

Insidious: Chapter 2 - Another Sequel Just Cashing In

I am a fan of the supernatural horror genre. Unlike many other types of films, supernatural horrow provides an near-instant gateway into deeper spiritual discussions. Whenever a film includes as a plot point a transcendent or hidden world beyond our own, discussions emerge about the plausibility of such a dimension, and the ways in which it might intersect with our own. And, of course, what does it all mean? I would love to tell you that Insidious: Chapter 2 is such a film, but it is not.

Insidious -- the first iteration of what now appears destined to be a horror franchise (it is leading the box office this week despite very mixed reviews) was a pretty decent horror film. Shot on a shoestring budget, it brought in $54M at the domestic box office. The sequel is likely to be number one over the weekend, but I doubt if it will play long. It's just another sequel trying to cash in on the orignial without bringing much (anything?) new to the table.

Insidious: Chapter 2 continues the story of the Lamberts, a family haunted by malevolent spirits who, in the first Insidious film, are trying to possess the body of their comatose son Dalton. We discover, from family friend and psychic Elise Reiner, that Dalton has projected his spirit into The Further, and that the souls of the departed are desperate to use his body for a second chance at life. Someone needs to go in and bring Dalton back. Well, of course, in the process of bringing Dalton back something went wrong -- and that is why we need the sequel. Despite the Lambert's belief that they had put their supernatural problems behind them, pesky poltergeists appear to follow them wherever they move. Time to bring back Elise.
FULL POST

Posted 6/17/13 at 3:49 PM | Marc Newman |

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When Films Make Fun of Faith: An Answer to 'This is the End'

This is the End

This is the End demonstrates that Hollywood gets so little right and a whole lot wrong about eschatology: the study of end times. The film does posit an actual Rapture, the reality of the demonic, the existence of heaven, the authority of the Bible (sort of), the damning power of sin, and the need for confession. But it also argues that certain good deeds are the way to heaven, that you can escape the tribulation and be raptured at any time after the initial event if you act right, that your rapture can be reversed, and that heaven is indistinguishable from the hedonistic Hollywood party that begins this film. This is the End earns its R-rating.

The movie opens with Seth Rogen picking up fellow actor Jay Baruchel at the airport. The two friends want to reconnect. They end up at a party at James Franco’s home, attended by a host of other actors. These stars, supposedly, are not playing characters; they are playing themselves. After indulging in drugs, Jay and Seth want cigarettes and snacks, so they walk to the local mini-mart. Oh, and the Apocalypse arrives. FULL POST

Posted 5/30/13 at 1:51 PM | Marc Newman

From Father to Son in 'After Earth'

After Earth

Being marooned, either on a desert island or in space, has a long literary and film history. There is something about the solitary individual (sometimes the small group) battling against his circumstances, knowing that no cavalry is going to arrive. When the stakes are “perform or die” you normally have captivating drama.

The pairing of real-life son and father Jaden and Will Smith in this summer’s sci-fi film After Earth plays on the marooned theme. The movie also attempts to communicate an environmentalist take on what the Earth might look like if the “human cancer” was excised for an extended period of time – in the future we live on a distant outpost. But the overwhelming focus of the film really is that of a father teaching his son what it takes to be a man. None of it involves chasing girls – and for that, we can be thankful.

The key lesson in After Earth is overcoming fear so that a man can complete his mission. Overcoming fear requires recognition, training, and engaging the will. FULL POST

Posted 2/14/13 at 4:06 AM | Marc Newman

For Valentine's Day - The Notebook: The Enduring Sacrifice of the Heroic Lover

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Just when my parents thought they could begin their "golden years" together, my grandmother was stricken with Alzheimer's. My father, Bud Newman, fulfilled his vow to his dying father-in-law, to bring my grandmother to live with them if she ever became too ill to fend for herself. As he was the retired military officer, and my mother worked full time, my father served as Grandma's primary caregiver. Not too many years after Grandma died, my mother was diagnosed with small-cell lung cancer -- only three months from diagnosis to death. My father fulfilled another vow -- one he made on his wedding day -- to keep my mother in sickness and in health. For as long as he was able, my father cared for my mother at home, navigating the complex regimen that accompanies cancer treatment. My dad is the heroic lover.

The Notebook

Heroic love is scarce in contemporary film. You see glimmers of it in films such as Big Fish and even in the recent zombie love story Warm Bodies, and stupid versions of it in This Means War and the horrible film Savages. Heroic love is the love that everyone wants, but that few know how to give or get. It finds embodiment in the film that has become a Valentine's Day staple, The Notebook. FULL POST

Posted 1/10/13 at 3:02 PM | Marc Newman

The Top Ten Spiritually Provocative Films of 2012

At the close of each year it is customary for film critics and arts pundits to compile “top ten” lists, based on their ideas about what constitutes fine acting, solid screenwriting, or exceptional directing. But most people don’t minutely examine their entertainment choices this way. Often, people will simply say “I liked it.” They might not even be able to articulate just what it is about a film that moves them.

But I think I know.

What really grabs an audience is the truth. That may seem odd considering that all of the films on this list are fiction films, not documentaries; however, all of these films represent aspects of spiritual, moral, or ethical truth that rings true with those who see them. Just to be clear, not all truth is beautiful truth – there are ugly truths in this world that serve as cautionary tales. This list runs the gamut from big to micro-budgets, from musicals to historical drama to science fiction to animation. But the one thing all of these films have in common is that they are spiritually provocative. Here they are, bottom to top:

[Note: FilmTalk Discussion Cards for most of these films can be found at Movie Bible Study] FULL POST

Posted 12/24/12 at 1:39 PM | Marc Newman |

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Is Les Miz a Good Christmas Movie?

Les Miserables (2012)

You will not soon see a better film about redemption and its effects than Les Miserables. Based on the novel by Victor Hugo, director Tom Hooper has brought the Broadway musical version of this tale to the screen in all of its ethical and spiritual complexity. Sure, there is romance and some revolutionary action (though the story takes place in post-Revolutionary France), but the focus of the tale is Jean Valjean.

Valjean is a convict. After serving nineteen years in prison at hard labor for the crime of stealing a loaf of bread to feed his starving family, he is released -- but can find neither work nor kindness. Valjean becomes a drifter and a vagrant, sleeping on the streets, constantly exposed to ridicule and brutality. But, by an act of grace, Valjean is approached by a concerned local bishop who invites him to come into the church where he might find rest and food for his body and soul. Desperation overcoming wariness, Valjean accepts the kind offer. But in the night, he cannot resist stealing the silver from the sanctuary and running away. What happens when Valjean is arrested for this crime and brought back to face the bishop sets the stage for the remainder of the film. FULL POST

Posted 7/23/12 at 3:16 PM | Marc Newman |

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An Open Letter to Aurora, Colorado

Movie theaters are supposed to be a place of escape – for at least a couple of hours -- from the challenges of everyday living. But for the victims and their families and friends in Aurora, Colorado an act of horrifying violence shattered the illusion. Right now they are the center of attention, feeding a 24/7 news cycle. But when the media senses issue fatigue in the minds of its nationwide audience and shifts away to newer, fresher stories, the pain that began in the early morning hours last Friday will linger. For many, it will never go away.

There might be a time to talk about guns, violence in the media, and appropriate types of punishments for the people who commit such heinous crimes, but right now the best response is to mourn, comfort and pray. For those who have lost a family member, friend, or co-worker, we are truly sorry for your loss. We hope that friends and family members can give comfort to the grieving and the wounded. We pray for strength and perseverance for you. Your grief will still be fresh long after the news reporters fade from view.

How does one make sense of the violence perpetrated upon unsuspecting, innocent people? Where is God when evil appears to triumph? Does He even care about us? If Job, the most righteous man who ever lived, can ask such questions, I think that God may understand if some of us are asking them now. FULL POST

Posted 7/12/12 at 4:36 AM | Marc Newman

When Authority Fails in 'The Amazing Spider-Man'

The Amazing Spider-Man

According to S.H.I.E.L.D. Director Nick Fury in The Avengers, sometimes battles are simply too big for us to fight on our own – for those times, we need superheroes to step in and fight for us. But in the universe of The Amazing Spider-Man, it isn’t that the forces arrayed against the humans are too powerful for us to handle, it is that the authorities that should be in place for our protection have failed. The world Peter Parker inhabits lacks potent authority, and, in watching it, one gets the sense that he is – for the most part – on his own. If there are problems, it is up to him to fix it. This might not be the recipe for a feel-good summer film, but it does correctly identify the ingredients that makes The Amazing Spider-Man ring true for some of its viewers.

When Authority Fails

The Amaxing Spider-Man

The problem of impotent authority is global in The Amazing Spider-Man. Early in the film – before a single Spidey-sense is tingling – viewers watch a high school lunch scene as the older, larger, stronger athlete Flash, humiliates a young high-schooler. Peter Parker – who, in this incarnation of the Spider-Man saga, is portrayed as a photographer for the student paper – is ordered by Flash to commemorate the boy’s shame in Kodachrome. When Peter refuses and dares to ask Flash to stop manhandling the other boy, Flash comes unhinged. What follows can only be described as a brutal beating. Flash knocks Peter to the ground and then begins viciously to kick him. Only the intervention of Gwen Stacy – the nerdy/cute debate team captain – saves Peter from a trip to the hospital…or the morgue. FULL POST

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