Unbroken film review

In the opening shot of Unbroken, Roger Deakins camera pans across a beautiful open sky, finally landing itself into one of the approaching warplanes.  In the tight space of the plane, where every incoming bullet is a few inches away from every crew member, Louis Zamperini and his crew are carrying out a harrowing mission from the sky.  The scene (as with the other plane scenes) is shot perfectly – it is tense, the sound mix is perfect, and the general sense of dread is enhanced by the claustrophobia.  In this opening sequence, Angelina Jolie’s reverent interpretation of the story of Louis Zamperini’s life begins, taking us into the too wild to believe true story of Louis Zamperini. 

This includes being stranded at sea, POW camps, and Olympic dreams.  Those who read the book know what to expect.  As for the rest of us – it’s best to just sit back and watch as spoiler free as possible.  The film documents Zamperini’s incredible life, ending with an emotional punch that reserves itself from the rest of the film.  Between there and the beginning, Unbroken (which credits Joel and Ethan Coen as 2 of the film’s 4 screenwriters) bounces between multiple parts of Zamperini’s life, as though we are skipping from chapter 2 to chapter 7 to chapter 3 – and it mostly works.  The timeline comes to a halt and the majority of the last half is spent in the Japanese POW Camp where Zamperini faces off against notorious Camp general, The Bird (played with a bratty menace here by Takamasa Ishihara).

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Exodus: God's and Kings

The following review by Brett McCracken originally appeared in Christianity Today online.

Ridley Scott’s version of the Exodus story focuses on the tenuous relationship/rivalry between Moses (Christian Bale) and Ramses (Joel Edgerton). Raised as brothers and princes of Egypt in the palace of Pharaoh senior (John Turturro), the two spend most of the movie opposing each other in a (quite literally) cutthroat manner.

The relationship reminded me a bit of the dynamic between Christian filmgoers and “secular” Hollywood films, like Exodus, which attempt to adapt the Bible. The Christian filmgoers are a bit like Ramses: hardhearted, skeptical and maybe a bit jealous, looking for every reason to punish the secular outsider who has the nerve to tell a story that isn’t theirs. I’m not saying Ridley Scott is Moses, mind you; just that Christian audiences can sometimes act like Ramses: stubborn, grumpy, vengeful, close-minded and unwilling to listen to someone they’ve already decided is an enemy.

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God Is Amazing

Everything changes when you see God for how He really is.

A little more than 15 years ago, as the 1990s were coming to a close, Bruce Bickel and I wrote a book called God Is in the Small Stuff. We must have hit a nerve, because the book has sold more than a million copies.

Fifteen years ago the world was a much different place. The Christian life was easy. You could relax and rest in the knowledge that God was interested in every detail of your life. No matter what you were going through personally, you could count on God’s involvement.

How times have changed. Over the last 15 years there has been a generational shift, a culture shift, a technology shift, a global political shift, and a faith shift that no one could have anticipated. Today’s world is massively different than it was in the closing years of the twentieth century. For one thing, there’s more hostility towards God now than there was then. In the view of many people—including many Christians—God is no longer great and powerful. Instead, He is ineffective and rather weak.

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The Monuments Men film review

If you had no military training, were past your physical prime, and were making a good living doing what you love to do, would you be willing to risk it all by entering into a war zone in an attempt to save some of the most important historical works of art from possible destruction? While this might make for a great start to a game of “What if,” for a group of men in the 1940’s, this very challenge became their reality.

World War II was winding down, and it had become known that Hitler had stolen many of the great works of art from the museums in the European countries he invaded. He was collecting the art to display in his own museum, which was to be built after he claimed victory in his conquests. But with the prospects of victory looking dimmer by the day, he left a different set of instructions: in the event of his death, all the art was to be destroyed. Picasso’s, Rembrandt’s, Michelangelo’s gone.

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