Last night, I went to see the newest “Batman” movie with my fellow Acton interns. I thought it was a great movie, and I recommend seeing it and reading Jordan Ballor’s review of it. I also want to echo some of the themes that Jordan discussed in his piece.

After the movie was done, it turned out that the people who had parked behind me were in need of a jump for their car. I didn’t know these people, but I did see that they needed help. And so I did something that people obsessed with government or with markets should think is impossible: I gave them a jump. No one forced me to do it. No one paid me to do it. I just did it, because it was the right thing to do.

The episode sort of represented many of the things that have been annoying me recently about my fellow libertarians (there may also be some guilty conservatives). I think they put far too much emphasis on having a market based solution to nearly every social problem. Yet giving someone a jump seems to defy traditional money-chasing impulses. There simply are things which we do not rely on a market to provide. Read more on A Jump on a Dark Knight…

Immediately after watching For Greater Glory, I found myself struggling to appreciate the myriad good intentions, talents and the $40 million that went into making it. Unlike the Cristeros who fought against the Mexican government, however, my efforts ultimately were unsuccessful.

The film opened on a relatively limited 757 screens this past weekend, grossing $1.8 million and earning the No. 10 position of all films currently in theatrical release. Additionally, the film reportedly has been doing boffo at the Mexican box office. Clearly, word of mouth and the temperament of the times are driving folks to see a movie wherein good overcomes evil, and, more specifically, militarily enforced secularism is defeated by religiously faithful armed-to-the-teeth underdogs.

It’s not that the subject matter of For Greater Glory isn’t historically accurate and compelling.  Nearly 10 years after the Mexican Revolution, President Plutarco Calles decides to enforce the anti-clerical laws written into the 1917 Mexican Constitution.  Calles (portrayed blandly if not refreshingly free of Snidely Whiplash mustache-twirling by the otherwise fine actor and recording artist Ruben Blades) forced not only the closure of Catholic schools, but also the expulsion of foreign clergy. His oppression hat-trick was completed by the government confiscation of Church property. When the archbishop of Mexico City expressed his concerns, Calles had his agents bomb the archbishop’s home and the chapel of Our Lady of Guadalupe. Read more on Review: Can One Kill ‘For Greater Glory’?…

Writing on the Big Hollywood blog, Dallas Jenkins asks the question: “Why are Christian Movies So Bad?” Jenkins, a filmmaker and the son of “Left Behind” novelist Jerry Jenkins, points to a number of telling reasons for the glaring deficit in artistic accomplishment, what you might call the dreck factor, that is evident in so many films aimed at the faithful. Jenkins’ critique points to something we’ve been talking about at Acton for some time: the need for conservatives to understand and master the art of narrative, not just the rhetorical skills that have served them so well in politics and policy. Jenkins says:

The problem is that everyone knows good art should always put story and character above message. Message films are rarely exciting. So by their very nature, most Christian films aren’t going to be very good because they have to fall within certain message-based parameters. And because the Christian audience is so glad to get a “safe, redeeming, faith-based message,” even at the expense of great art, they don’t demand higher artistic standards. So aspiring filmmakers who are Christians have little need to perfect their craft, and Christian investors have little need to spend a lot of money because the message is going to be most important anyway. Add in the fact that the average heartland Christian couldn’t care less what a critic thinks — if anything, they assume they’ll feel the opposite of a movie critic — and you’ve got even less incentive for Christian filmmakers to be obsessed with quality.

Or, as producer Samuel Goldwyn has often been quoted as saying, “Pictures are for entertainment, messages should be delivered by Western Union.”

Does the left make “message” movies? Sure, all of the time (think of just about any George Clooney picture). And these agit-prop productions frequently bomb. But Jenkins is is correct in pointing out that generally speaking the cultural right still hasn’t mastered even the rudiments of cinema storytelling. This is a grave problem because America’s chief myth making industries — feature films, television entertainment, book publishing, popular music — are largely the province of the cultural left. Then again, if you’re in that camp, you could plausibly argue that, “We’re just better at this stuff.”

The power of narrative lies in its ability to reach the whole person, the heart and the head. It begins by creating an effect on the emotions — moving a person — and can register indelibly in human memory. Thus, narrative can serve as a powerful means of communicating ideas, but not primarily in message form. It works at a deeper level, sometimes tapping into the mythic consciousness of an entire people. That is why narrative is essential for political mass movements; once you get the hearts and the minds of the people excited, you can then move their feet in the direction you want them to go. Most recently, this political narrative form has been used artfully by candidate and now President Barack Obama (see “Obama and the Moral Imagination”). Read more on PBR: Cheesy Christian Movies and the Art of Narrative…

Opening this weekend in many markets is an enjoyable movie with a meaningful message, Fireproof.

My wife and I had the opportunity to screen it a few weeks ago, and came away impressed. The story behind the story is itself interesting: A Georgia church decided several years ago to try to influence the culture in a positive way, and determined that making movies was the way to do it. They enlisted a handful of professionals, but in large part the effort was amateur. Their second attempt, Facing the Giants, enjoyed some success—great success, considering the film’s resources and provenance. (They made an earlier picture, too, Flywheel, which I have not seen.)

Read more on Marriage Movie…

As The Dark Knight sets box office records, and the Acton Institute plunges deeper into the business of film production, it might be an opportune time to revisit the question of Christianity and movies.

Read more on Christians at the Movies…

When thinking of southern Italy, Americans probably imagine the Amalfi Coast, Mount Vesuvius, and lemon groves, but to the average Italian the picture is of rotting garbage in the streets of Naples and the Mafia. These realities have been strikingly portrayed in Roberto Saviano’s book Gomorra (ET), which is also the basis of a newly-released motion picture in Italy.

Read more on Saviano’s Gomorra and the Plague of Crime and Corruption in Italy…

The newly released Charlie Wilson’s War is a film based on a book that chronicles the semi-secret war that led Afghan freedom fighters to defeat the Soviet military during the 1980s. Tom Hanks plays former Democratic Texas Congressman Charlie Wilson, who is also known as “Good Time Charlie” for his womanizing, drinking, and recreational drug use. The viewer is led to believe Congressman Wilson is not serious about his elected position until he takes up the cause of the Afghan people, who suffered immensely under Soviet aggression. Other starring roles are Julia Roberts as Christian “right wing” financier Joanne Herring, and the late CIA officer Gust Avrakatos, played by actor Phillip Seymour Hoffman. The dialog between the main characters is intense and entertaining.

Read more on Movie Review: Charlie Wilson’s War…

When I first heard that the epic tale of Beowulf was being made into a feature-length film, I was excited. Ever since I had first seen the live-action version of The Fellowship of the Ring from Peter Jackson, I had thought that a similar project could do a wonderful job with the Beowulf epic.

Read more on Movie Review: Beowulf…

Today was a pretty full day that just wrapped up a few minutes ago. Al Mohler, president of the Southern Baptist Theological Seminary in Louisville, KY, opened up the day with a keynote address, “Pioneering the New Media for Christ.”

Read more on GodblogCon 2007 Day 1…

In the classic 1950 film Sunset Boulevard, the character of film star Norma Desmond, played by Gloria Swanson, declares, “I am big. It’s the pictures that got small.” I watched Sunset Boulevard for the first time last night, thanks to the recommendation from a friend in Virginia. As a fan of classic films, I had high hopes for this film, which was directed by Billy Wilder. Wilder also directed one of my favorite classics films, Stalag 17.

Read more on Sunset Boulevard – A Haunting Look At Spiritual Emptiness…