Showing posts with label comic books. Show all posts
Showing posts with label comic books. Show all posts

Thursday, May 2, 2019

What Thanos Can Teach the Church


[the teeny-tiniest of spoilers below]

Late last month, millions and millions of people from around the globe (including myself and my family) assembled together in local gathering places, all on the same day, all with a sense of reverence, anticipation, and joy. We gathered together to celebrate victory over death and the vanquishing of evil powers in this world. And, while people have attended similar assemblies many times before, year after year . . . for the first time, our gatherings grossed more than a billion dollars!

I am, of course, talking about opening night of Avengers: Endgame, which premiered on April 27 and which destroyed all previous box office records by earning $1.2 billion. The movie was pretty good, as far as such things go. As a life long comic book geek, I continue to be torn between relief that being into Marvel superheroes and villains and the Infinity Stones is now mainstream, rather than a “Dork City” stamp on my cultural passport, and annoyance at all these Johnny-come-latelies horning in on my thing. I mean, if you would have told me in 1991 that the comic book miniseries my friends and I were obsessing over would be made into a movie almost thirty years later, I would have assumed the audience would be a small niche-of-a-niche type thing.

But that’s not what happened. Not even close.



In fact, even if you haven’t seen any movies from the Marvel Cinematic Universe, you must know something about them. After all, there have been more than twenty star-studded films over the course of a decade, all telling their own stories while also furthering this one overarching plot, building up to a massive battle of good versus evil, life versus death.

As a Christian, that should sound sort of familiar. Our sacred text is a collection of sixty-six books, each telling its own story while furthering the overarching metanarrative of God coming to save us and defeat the Dragon. Which brings us to the question: why, in a year when (according to one news story I read) church attendance was falling even while Easter approached, did a record number of people cram themselves into crowded theaters for a three-hour-long movie with really no good point at which to duck out and pee?

I know, I know. Church is a completely different phenomenon from a movie with lasers and aliens and a $350 million budget (at least it should be!), but I still think we can learn something from how, less than a week after Easter, a story about a “god” of thunder (who has—spoiler alert!—kind of let himself go) and his friends fighting a big purple bad guy can so engage theatergoers on day one, even in an age of streaming movies, digital platforms, etc. Endgame didn’t have a better story than we do; so what accounts for all the success?

I have several suggestions:

·         Anticipation – This movie was the culmination of twenty films that came before it; it was the grand finale and everyone knew it would be huge! I saw people dressed up as superheroes at the theater. I saw people crying during the movie. People were even spontaneously applauding, despite the fact that it was a theater, not theatre and therefore the actors couldn’t  actually hear the applause. Why all this display? Because the audience had so built up inside themselves expectation and desire for this event that when it finally happened, it was like opening the floodgates of emotion. Granted, this one seems quite disconnected from church on two levels: first, church isn’t (or, again, shouldn’t be) designed to manipulate your emotions until you pump your fist and shout or break down and cry. And, secondly, a movie only needs to draw a crowd out once (or maybe twice); it doesn’t need to sustain the sense of anticipation in an open-ended way. Still, perhaps something we can learn from Iron Man and Thanos is that approaching church with a sense of anticipation (after all, we are gathering together with the saints to encounter the God of the universe!) can set a tone and can be contagious. If those gathered have a sense of holy anticipation or a sense of mundane routine, it can greatly color both our experience and our desire to come back and experience that encounter again.

·         Excitement  - Okay, so this kind of overlaps with the last one. But all the anticipation in the world won’t overcome a big letdown if the delivery is underwhelming. In fact, high expectations can be a recipe for major dissatisfaction. Luckily for Endgame, it delivered laughs, tears, and tons of action and suspense. So, what then? Should churches try and do that, only on a much smaller (and much sadder) scale? No. A million times no! Rather, we should set our anticipation—our hunger and thirst—on the things that the church is supposed to deliver. Prayer, worship, reading and exposition of God’s Word. Where we set our hearts, excitement follows. In 1991, when I found a copy of Infinity Gauntlet #1 (the comic book series on which this latest movie was very loosely based), I was ecstatic!  I had longed for it and looked for it and finally found and acquired it! If we long for encounters with God and find him regularly in his Word and obey him in gathering together to encourage and edify each other, to worship him, and to encounter him in the bread and the cup and the waters of baptism . . . we will be excited. And not with the kind of contrived excitement that lasts only a moment (or three hours), but with something lasting. We will be satisfied.

·         Community – Feeding into the massive throngs on opening weekend were the many conversations, fan theories, videos, etc. being shared about Endgame—both in person and over the Internet. (Heck, I was on a podcast discussing the movie the morning after I saw it.) You don’t get to a billion dollars at the box office by enticing individuals to come see your movie; you do it by creating communities of people, all coming together, talking about it the day before at church and debriefing it over coffee and dessert afterwards. Likewise, it’s no accident that all the most successful TV shows during my lifetime have been water cooler fodder—people wanting to discuss a common interest, in which they are all invested. The same is true of church. When we approach our spiritual lives as private, individualistic aspects of our lives, of course they are going to run cold. When we fan each other’s flames of faith and devotion, though, when we discuss our lives as followers of Jesus and lift each other up, we are more likely to, in the words of St. John, “overcome to the end.”

·         Resolution – Most people who saw Endgame had seen most of the previous movies. I knew a number of people who were hurrying to binge all of them in time for the finale. And those (like me) who had been watching them for ten years were happy to have some closure/resolution. You see, every Marvel movie had ended—after the credits—with a cliffhanger/teaser for what was coming next. It left you always a little off-balance, a little ill-at-ease. But now all that tension would be resolved. And while attending church certainly doesn’t remove the cliffhangers and stress from our lives, we do have the end of the story. We know how it plays out. And we can remind each other of that. We can encourage each other in the name of the Lord. We can gather together at the end of the weekend, as a new week dawns, and be reminded that God will never leave us, that he is working all things for the good of those who love him, and that he will not suffer all the loose ends hanging there forever. He is a God of resolution. In fact, the over-arching story of the Bible can be broken down into four parts: creation, fall, redemption, and consummation. That last part is as real to us now as anything can be: our God will wipe away every tear and right every wrong. It’s important for us to remind each other of those promises.

·         Peer Pressure – So let's face it, some people didn't care at all about the plot of the movie or any of the characters; they just didn't want to miss out. They felt like they should see it so they wouldn't be left out of conversations, confused by memes, etc. This used to be a factor with church as well, especially at Easter and other big holidays. I think this is fading away too. Which is just as well. Peer pressure can up your numbers but it's not the best way to bring people to the cross. Yes, the Word of God never returns void and I know of a number of people who have come to faith when they didn't really even want to come to church. But the world has changed and we can no longer count on some cultural sense of I should go to bring people to the Lord's house on the Lord's Day. Church attendance on the whole is down quite a bit and this is part of it.

But here's the weird thing: over the past couple decades, per capita attendance at movie theaters has waned quite a bit as well, which makes these huge blockbuster successes all the more noteworthy. And yet, I’ve noticed something else happening in theaters over that same time period. There are a lot more perks, comforts, and even luxuries to be had. At the cinema right near my house, you can now buy a glass of wine to sip while you watch. You sit in big, cushy easy-chair-type seats, which recline with the touch of a button. The picture is crisper than ever and the sound has never made you feel more like you’re right there. We’ve got 3D films, IMAX screens six stories tall, and special seats that shake and move with the action. And yet, none of this has kept people from going out to the theater less and less. Tubs of popcorn with free refills and seven different flavors of topping, robotic soft drink dispensers with 18 types of Dr. Pepper (seriously, who wants peach Dr. Pepper???)—none of it really succeeded in creating the sort of pull that a good story, a lot of excitement and anticipation, and a desire to belong to a community could.

In the same way, many churches today are trying to create all the comforts and luxuries they can to entice a lost world to come and experience an encounter with God. And while there’s nothing wrong with most of it, we can easily become distracted from the story itself. Instead, let’s focus on gathering together each week with a sense of anticipation, hungering and thirsting for God’s Word, for the bread and the cup, desiring nothing more than to lift up his name with our fellow believers and share our walks and lives together.

It’s true that the word for “church” in the Greek comes from the words “out” and “to call,” but by the time the New Testament was written, it had one meeting: “assembly.”  To “be the church,” then, is to come together and worship, come together and serve, come together and love one another and receive forgiveness in Jesus’ name. In a time when casual and cultural church attendance has all but disappeared, it’s perhaps more important than ever for those who truly follow Jesus to come together with excitement and expectancy in the assembly of the saints.

Or to put it another way . . . Christians, assemble!



Friday, September 4, 2015

I'm Just Like Jesus, They Tell Me...

My son and I just finished the Gospel of Luke. Ideally, we read a few chapters of the Bible together every night, but it's actually more like three to four times a week. Still, we've made it through three

books of the Bible now. He loved the story of Jesus and he remembers details I would never expect a seven-year-old to retain. He loved the post-resurrection appearances of Jesus so much (especially the road to Emmaus) that he has opted to read John next and get the story of our Savior from another angle.

So, anyway.

A new Christian bookstore opened today in an outdoor mall near our house, so he and I went to check it out. As most authors are wont to do, I wandered by the fiction aisle and was pleased to see that they had a couple copies of The Last Con and one copy of Playing Saint. Just then, an employee happened by and said, "Can I help you find anything?"

Thinking I'd be clever or cute or something, I said, "Have you ever read either of these books?"

"No, I don't believe I have," she replied.

"They're amazing," I quipped, planning of course to aw-shucksingly reveal that I had written them after building them up to a ridiculous degree.

"Amazing? Really?"

"Oh, yes," I said. "Maybe even brilliant."

"What is?" called another clerk asked from behind the counter.

"These two," clerk #1 said, carrying my books over to her.

At this point, my son called me over to look at some comic books we don't yet have. (Aside: Kingstone Bible Comics are the money!) I kind of forgot about the whole shameless self-promotion thing until we got up to the counter and saw my books sitting there.

"Thanks for the recommendation," the clerk said. "I'm going to pass it on to my husband."

In a little too deep to come clean directly I just nodded and expectantly handed her my debit card, which, incidentally, bears my name. She didn't notice.

As we left the store, my son says, "Huh. You're kind of like Jesus."

"How?" I asked.

"You know, pretending to be someone else."

Yeah. That's one way to look at it.

.

Monday, March 2, 2015

Supernatural Movie Reviews: Constantine (2005)

 

Constantine

Year: 2005
Starring: Keanu Reeves, Rachel Weisz, Shia LaBeouf, Tilda Swinton, Peter Stormare
Directed By: Francis Lawrence (I Am Legend, the Hunger Games movies, a bunch of '90s music videos)

First of all, you've got to admit that's a pretty money tagline: Hell wants him. Heaven won't take him. Earth needs him. The movie doesn't really deliver on all that, but still...it's pretty cool. And despite its manifold problems, I can't help but sort of like this flick, which is kind of a no-brainer, considering that the director cut his teeth on nineties music videos and there's a scene where Keanu puts on "holy brass knuckles" and beats the crap out of a demon. That's my own issue, though.  Also: how can Windows XP's media player make me so nostalgic? I may have a real problem, guys...

Basic Plot
If you don't count the whole "making little sense" thing, this movie starts out with a real bang. An Average Joe in Mexico (average José?) happens upon the "Spear of Destiny" (more on this later), wrapped in a Nazi flag, immediately changing the course of this poor guy's life and causing him to be possessed(-ish) by the devil's son. We keep cutting back to him throughout the movie as he gets closer and closer to the center of action and we get the growing impression that this guy is invincible.

But we're also seeing how pesci our hero is. Keanu plays John Constantine, an exorcist-slash-whatever who lives in a weird steampunk fantasy loft (or is it a...boat? I admit to getting distracted during some of the slower parts), where giant chains, gears, and WWI-era cigarette lighters are standard equipment.

We see Constantine in action as he defeats demons here and there, but we also see that he's spiritually tortured and apparently blacklisted from heaven, even while death is drawing nearer in the form of cancer. (Aside: if you've always wanted to watch a sad Keanu cough up bloody phlegm, you're in for a real treat here.)


Fanboy Assessment
Okay, I usually try to keep this under wraps in my writing, but I happen to be a former comic book nerd, and the only reason it's "former" is because comics changed while I did not (at least not in ways having to do with my taste in entertainment). So I must comment on the fact that this movie is (sort of) an adaptation of a comic book.

The comic book character John Constantine was created by Alan M00re, who I believe to be one of the most overrated guys ever to enter the world of comics (especially when he's creating characters--Nite Owl????). (Also, I realize there are probably some people out there who will find this post through an "Alan M00re" Google Alert and then leave all my books one-star reviews; OOOH! Just got the idea to preemptively dodge that with the 0's.) In the mid-'80s, M00re created John Constantine while writing for Swamp Thing, basing his appearance and vibe on the singer Sting.

A few years later, John Constantine got his own comic book, which grew in popularity into the early nineties, sort of spearheading the "occult detective" genre and inspiring a bunch of other comics with a similar tone (along with Hellblazer, there was  Preacher, Hellboy, etc., not to mention the revival of some forgotten characters like the Spectre, Hellstorm, Ghost Rider, and Deadman), all helping to build up to a generation of brooding comic readers wearing black trench coats and watching The Crow before that became associated with killing your classmates. 

True John Constantine fanboys moan about the switch from brusk, blond and British to...well...Neo, but I think it works far better. (Maybe it's the "neutral mask" thing? I dunno.) Really, Neo is oddly suited to this sort of role. Not only the messianic Matrix stuff, but The Devil's Advocate and this movie. Heck, even going back to his Bill and Ted days, we find him traveling to heaven and hell, interacting with God and with Satan, who looked like this:


The cosmology of this flick is much more "Christianized" than the comic ever was, which I admit is the only reason I'd give a movie like this a second glance. The original John Constantine was far more rooted in the occult, and even when the comic started to evolve, Constantine didn't want Heaven or Hell to have a say in human affairs. In that way, he was the ultimate humanist. But this Constantine, after learning he is dying of lung cancer, makes a special trip to ask the Angel Gabriel for more time to get into God's good graces.

The storyline being "adapted" here (and I use that term very loosely) is the "Dangerous Habits" arc from 1991, written by Garth Ennis, who is not in the least underrated. Honestly, the character created by Moore (basically a 2D conman-sorcerer-slash-excuse-to-make-someone-look-like-Sting) isn't the same character from those issues. Ironically, Moore has famously refused to see any film adaptations involving his characters in recent decades, and, while this character is very different from Moore's creation (and is basically just standard Keanu), it's also better.


Merits and Demerits
What made this movie for me was the cinematography, which was super mid-nineties, in the best way possible, despite coming out in the mid-aughties. Shades of Se7en, Fight Club, and even Stigmata. Grimy diners and muted colors, lit with greenish florescent light. That POV shot on the cigarette falling, near the beginning, had me hooked. And that score!

The supporting cast is pretty solid too. Shia "Where the Beef?" plays Chas the wannabe demon hunter, in a super wide-eyed, earnest way that reminds us why America (sort of) fell in love with him to begin with. Rachael Weisz is doing that "Jennifer Tilly meets Marla Singer" accent that she did in Confidence and some other movies from that era and she brings plenty of life to her rather thin "tortured cop with a gift she doesn't want" character. She and Keanu have a great non-chemistry on-screen, which is just what the story calls for. Their first meeting is her walking toward an elevator, saying,  "Hold the door. You going down?" and Constantine, pressing the CLOSE DOOR button, answering, "Not if I can help it."

Other things I liked include the best product placement ever: after learning that he has terminal cancer, Constantine gazes up at one of those two-part billboards that reads, "Time is running out......to buy a new Chevy." (There's a nice little undercurrent of dark humor throughout.) I also dug the connection with going underwater to see the spirit world. And this is the first film to make something of how creepy cat's eyes look since....um... Cat's Eye.

But there was plenty to scoff at as well, ironically coming to the fore with the appearance of the incredible Osacr-winner Tilda Swinton, playing a rather androgynous Angel Gabriel (I know this sounds mean, but I seriously don't know if this was an artistic choice or just a side effect of casting Swinton). The White Witch plays Gabriel with black wings and the whole subplot (completely different from the comic book source materiel) is ripped off from an awesomely bad mid-nineties movie called The Prophecy. This Gabriel rebels against God (for the exact same reason as Walken's Gabriel in The Prophecy), is eventually damned to become human (yanked from The Prophecy II),  and the finding of extra biblical chapters (or "acts" as this movie calls them) is a pivotal plot element (as it was in The Prophecy). Aside: why the heck is Gabriel wearing a bunch of hospital bracelets?!


Other demerits:

  • Seriously, that "possessed person on the ceiling, in the corner" thing has been more over-done than any other gag in the history of supernatural movies. I remember being freaked out by it in 1990's The Exorcist III, but even then it seemed like a cheap move.
  • The "not-quite-there" CGI (video game quality by today's standards), particularly in the epically unfrightening "hell" scenes. To be fair, the CGI steps it up for the fight between Constantine and the snake-wasp-crab guy (credited with the corny name "Vermin Man").
  • Beeman, who is essentially Constantine's "Q" couldn't be trying any harder to be Simon Pegg. And he had "sacrificial lamb" written all over him. Yet the movie seemed to think it was pulling a big surprise with his death.
  • Some plot elements looked like they'd been improvised on the spot, like the priest (played by that beady-eyed heavy guy who's been consistently type-cast as a serial killer or cult leader for at least a decade) slamming himself in the hand with a corkscrew over and over. Wha--?
  • The Easter egg is the ultimate cheesy cliche. His sidekick has become an angel and flies up from his grave while Constantine looks on. Derp.


Theological Low Points
A reference to "The Book of Revelations" (plural) consistently confirms for me that a given book or film was written by someone with zero biblical training. And that's not surprising with this movie, in which the view of God can be summed up in the line, "God's a kid with an ant farm, lady. He's not planning anything."  Even though it is later acknowledged that maybe God did have a plan, God is conspicuously absent from this story. Why? Because God and the devil made a bet for the souls of all mankind, which entails no direct contact, just influence. The entirety of Christianity is based on the idea that this couldn't be more wrong. Christ made direct contact to the Nth degree.

From there it is, predictably, a spiritual gong show. Magic amulets, the symbols of alchemy which are tattooed on the protagonist (aside: if you're interested in alchemy--or if you're not--you should pre-buy my forthcoming book The Last Con!),  and various occult items, all of which are sources of spiritual bondage, are used to defeat the powers of darkness. A witch doctor is basically on the good side by default (recalling a spate of supernatural movies in the '80s, in which psychics teamed up with clerics to defeat the devil). Weisz's character says to Constantine, "I know the circles you travel in: the occult, demonology, exorcism..." Um... what?! On top of that, Constantine is constantly boasting and trash-talking demons during exorcisms, reminding them just who he is. In reality, such boastings have never really gone well.



So back to the "Spear of Destiny.". It's supposedly the spear used to pierce the side of Christ on the cross. When he brings it up, Angela answers, "I'm a Catholic, John. I know the crucifixion story." Wait, what? Then, by way of exposition, she adds, "Jesus didn't die by being nailed to a cross. He was killed by a soldier's spear." Wrong again. Jesus was already dead, which was confirmed by the spear piercing his side.
 
The Spear of Destiny is a whole thing in the DC Comics universe, involving Hitler and the crucifixion...and superheros of course. Even forgetting about Hitler for a minute, turning the blood of Christ into a trope in a monthly comic book or borderline-B-movie is a horrible thing to do…then again, I didn't complain about Indiana Jones and the Last Crusade. But even if it's fair game, the origin and attributes of this relic make no sense. The spear that pierced Christ somehow has great power for evil and destruction? How?? Satan's greatest failure and God's greatest victory are both seen in the cross...if this thing's going to have powers, why wouldn't they be exclusively good?

Another confused aspect of the movie is Constantine's own origin. He killed himself as a teen and spent two minutes in hell. Now, due to the suicide, he's doomed to go back there next time he dies. .. only that doesn't work, even if we assume the sort of "Catholic doctrine as rules in a D&D universe we created" worldview. The reason suicide is seen as such a deal-breaker in some traditions is because you automatically die with a mortal sin on your conscience. But, having come back, Keanu could just go to confession and be absolved of it.

This leads into one of the major theological near-misses: the idea of earning one's way into heaven. Gabriel chides, "You're still trying to buy your way into heaven...that's not the way this works." So far, so good. But in the end, it's Constantine's own self-sacrifice that saves him (not unlike the end of Frozen, only with worse CGI).

That's often the mark of these self-declared edgy spiritual thrillers: a mix of truth and error in a way that is somehow unflattering to both. Gabriel is sounding very angelic one moment and dropping an f-bomb the next.Constantine can't be forgiven his two minutes of self-induced death, but a demon can be sent to heaven against his well, simply by reading him his last rights (out of a NKJV Bible??) And of course, Satan gets to "decide who goes to heaven" by simply "letting them go."


Theological High Points
Predictably, there's not a ton here. The ulta-dapper demon in his fitted three piece suit, with his crisp British accent was certainly in keeping with the biblical notion that Satan's angels disguise themselves as messengers of light. And then, when he gets holy-brass-knuckled in the face (again, that was awesome), his true self can be seen beneath the veneer. "That's better," he quips, "au naturel." 

There's also the devil in a white suit (with black tarrish stains all over the cuffs of his pants). Peter Stormare plays Satan--a pretty obvious choice, since (apart from his wacky Russian cosmonaut in the notorious turd Armageddon) he has made a career of playing sickos, psychos, and baddies. This has its pros and cons. Again, someone less overtly evil would have further highlighted the "serpent" aspect of the devil...someone like Dakota Fanning or Dame Maggie Smith or Robert Prosky. Still, Stormare plays the part well (although not as well as Viggo Mortensen in The Prophecy.)

Along those lines, while it's a decent twist when Rachel Weiss (one of the most beautiful actresses working today) is suddenly a devil, why use makeup to make her look evil and gross (a la Stigmata or even Ghostbusters)? Even her teeth get yellow. How/why would that even happen?   It would have been far more fitting--and more off-putting--for her to stay gorgeous and be evil.

A few other high points:
  • The devil's son is named "Mammon." That is fitting. Although mammon's a lot more attractive in real life.
  • Throughout the movie, Constantine is annoyed by people who, instead of fighting evil, are dedicated to "keeping the balance" between good and evil. We may be guilty of that as well. And along those same lines...
  • Before going all Neo on a room full of demons, Constantine awesomely grits, "All of you...go to hell." If only we would so completely and relentlessly put to death our sin natures.


Best Scares
  • The moment of panic after the exorcism when the viewer has no idea what's wrong.
  • "Close your eyes and whatever happens . . . don't look."
  • The cattle dropping dead as the antagonist walks by.
  • The first big lunge toward the camera when Angela arrives in hell.  (Very fake, but still made me jump)

Worst Attempted Scares
  • All the Zack Morris cordless phones ringing at once.
  • A guy's half-a-face, lying on a table, talking. That's just...hilarious.


Memorable Quotes
  • "I've been seeing some unusual soul traffic."
  • "It's a rat in a dress.” “Of course it is."
  • "I thought I heard thunder last night. Must have been Satan's stomach growling."
  • "Two hundred dollar shirt, by the way."
  • "That's called 'pain.' Get used to it."