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 9/8/14 at 3:36 AM | Marc Newman
You paid attention to your planning, and you (or your team) promoted well. You have a houseful of people ready to watch the movie you have selected and then talk about it. You look around and see a lot of new people - some of whom may have never opened up a Bible in their lives. Many have no clue as to how the ideas they encounter in a film could have any relation to the Scriptures or the kind of worldview they embrace. For some of these folks, curiosity got the best of them. They are waiting to see if this group can deliver something meaningful.
To make the most of your Movie Bible Study you will need to pray, make sure everything works, greet new people, prep the audience, provide snacks, kick off the discussion, customize your approach, reward group members who bring guests, and then whet your group's appetite for the next meeting.
1. Pray. It is imperative that you pray for the people attending the movie Bible study. Some who come will be believers who have abandoned Bible study and this might be their first time back in a long while. Pray the event reignites their desire to study God's Word. Others know little to nothing about the Bible. Pray that the Holy Spirit will lead, convict, teach, and draw them to Christ. Many attending will be part of your regular group. Pray that God will give them wisdom in what they say, and that they will be able to be a positive influence on their guests. Pray that everyone grows in discernment. FULL POST
Posted 8/29/14 at 3:48 AM | Marc Newman
Once you have committed to teaching one or more Movie Bible studies, it is important to get the word out to your target audience. Everybody talks about “promotion,” but we want to discuss seven key elements that will help you to get your intended audience to the event: prayer, coordinating your promotional team, observing promotional limitations, web landing pages, tickets, leveraging social media, personal invitations, and “save the date” cards. Not every group will need to or want to engage all of these strategies. Just target the ones you think would work best for your group.
1. Pray. Every stage of creating an event should begin with prayer. Pray for creation and display of the promotional materials, and that the target audience will see the promotion. Pray for the people who see the promotion pieces, that they will be motivated to attend. Pray for the success of your social media campaign, and pray for the team coordinating promotion.
2. Coordinate your promotional team. If your group is very small, it is possible that the entire promotional “team” is just you. But if you have a larger group, it would be best if a small team is in place to coordinate promotion. When members of a group share the responsibility for putting an event together, they will be more committed and they will feel a sense of accomplishment when the event is complete. FULL POST
Posted 8/22/14 at 3:55 AM | Marc Newman
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
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
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.
Posted 6/17/13 at 3:49 PM | Marc Newman
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
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
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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.
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
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:
Posted 12/24/12 at 1:39 PM | Marc Newman
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