In 70s and early 80s, a small subculture of American kids shared a very odd and traumatic experience.
This was the era of Hal Lindsey’s Late Great Planet Earth, which helped popularize the idea that a literal reading of Old and New Testament prophecy matched current events – all signs pointing to the imminent return of Jesus as described in Revelation and related New Testament passages. Hal Lindsey did not invent the idea, as this kind of cultural analysis had been present in Dispensational theology for generations. But the popular nature of his writing allowed people to begin thinking of the political foment of the 70s in eschatological terms.
Larry Norman’s 1969 tune, “Wish We’d All Been Ready” described the horror of discovering “you have been left behind” by the rapture of Christ. It quickly became an anthem of the era (revived for the Left Behind market in 1995 by a DC Talk cover). It is hard to describe the abiding influence of the song, as it is an identity marker of any Christian kid that has grown up in the post-Lindsey era. But it is pretty much the “Thriller” of a few generations of American Christianity.
I share this background... Read More
All recent roads in crime drama lead to Forbrydelsen, the Danish series known to American audiences by its AMC then Netflix remake The Killing. For many, The Killing introduced a new vibe or set of possibilities for telling stories about crime that British TV critics had labeled Scandinavian or Nordic noir after shows like Wallander and The Bridge made their way across the channel. This vibe has become the dominant storytelling... Read More
[Ed. note: Date Movies is a fascinating ongoing project observing cinema by our current time and date. In this monumental labor, Ron Reed is enabling us to connect with treasured cinema moments in an unexpected way. Ron has very kindly allowed us to link to these from Filmwell as the project grows. Follow Ron @RonReedPT for more.) — Here is the latest installment from the Date Movies project for August 25. Roger Ebert called Day... Read More
Two of the show’s greatest Lindelofian mysteries have been resolved in the last few episodes of The Leftovers, but the now 3 1/2 year distance from the Departure itself indicates there is more to come. For those unfamiliar with classic Dispensationalism (see below for handy chart) – this is the span of time marked for peace during the seven year tribulation following the rapture. The remaining 3 1/2 years are full of literal hell on... Read More
Four years ago, I was blown away by Ink, the second feature from Colorado-based filmmaker Jamin Winans. Ink was not without its flaws, but ultimately, I found it to be a stunning and thought-provoking fantasy film. Or, as I wrote in my review: Ink definitely wears its heart on its sleeve, and is packed with themes of redemption, guilt, forgiveness, the cancerous effects of materialism and pride, the importance of fathers, and the power of stories... Read More
So far, The Leftovers has struggled to capitalize on the human scale of its Rapture narrative. The series has built up a few story arcs, spent a bit of time exploring the backstory of The Guilty Remnant, and nodded toward the big Holy Wayne plot. But I remain skeptical of the show in the same way Fred Clark is not a fan of the Left Behind novels, which he mercilessly critiqued in a legendary collection of blog posts beginning with... Read More
I am not a professional critic, as I don’t write for an outlet that pays me on a regular basis. Feel free to take all this with a grain of salt. I have always been drawn repeatedly to the WordPress dashboard and query letter simply because I feel compelled to share something I have seen, heard, or noticed. But over the years I have had to figure out how professional (or at least, better networked) critics do what they do and take... Read More
Gris Gris runs into a few issues in its third act, as the story seems to run out of steam. Also, its two leads remain pretty undeveloped throughout. But I want to get those criticisms out of the way so that I can share what really works well. The film opens on its greatest asset, which is the dancer (Souleymane Démé) director Mahamet-Saleh Haroun apparently encountered one day and was so impressed that he began to spin a film script around him. It... Read More
The youngest daughter in The Strange Little Cat is the nearest approximation to my seven year old daughter I have seen in cinema. Zürcher catalogs the little adult responsibilities she wants to experience, like pushing plastic bottles into the recycling machine. He pays attention to the thoughts percolating after she hears something very adult about the world, like the fate of the sparrows outside if she stops feeding them. It is clear... Read More
“Day of Wrath, for pity take My sins away from Satan’s grasp And bear my soul to Heaven at last.” — Made in Denmark during World War Two, this film – set four centuries earlier – is heavy with the weight of German occupation, as women are tortured and cajoled into denouncing others as witches. But the ready identification of these stern, detached church authority figures with the Nazis and their collaborators,... Read More