I, Tonya

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I do not know if Tonya Harding was aware of the full details of the “incident”, and neither do I care. In the eyes of the law she is guilty, and to her own she is not; my opinion of it does little to alter this truth.
However, what I haven’t stopped thinking about since the credits started rolling are the moments and events that led her to infamy.

Tonya Harding’s story is the story of the world. Not in the particulars, of course, as few of us get to be the best in the world at something, or have friends that are so imbecilic they should be given awards. Her story is our story in that nobody can truly understand who we are, our motivations, behaviors, without first taking into account all the years that came before, and everything in it that shaped us. It is an impossible thing to do.

The film did not make me understand Tonya Harding. But I felt for her, the way we should all feel for each other. I felt her pains, and frustrations, and rationalizations, and resentments and thoughts and feelings, and every stupid little thing that led her to plead before a judge to not take skating away from her, the only thing she’s ever been good at. If we are all like Tonya, marked by the lousy decisions and injustices of our past, then we need something more than a second chance: we need love.

A-

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Top 10 Films 2017

Cinema is God’s way of making me care. On the days when I feel on top of the world, film is there to remind me that existence is so much more than my emotions. On days when I’m drowning in despair, film lets me know that I should fight on, be brave, for there is yet hope. Above all, cinema works as a mirror in which I discern the version of the man I want to be, the one I should not be, the one I am grateful I left behind. When I think about the movies I think about God, forever grateful that He’s allowed me the privilege to watch, dissect, enjoy and live the greatest art form of all.

Here are, in descending order, my 10 favorite movies of 2017, an absolutely incredible year:

  1. CAFÉ SOCIETY

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Were it not for the jazz score consistently playing in the background of near every scene, Woody Allen’s Café Society would feel like a tremendously sad film. An American fable of a New Yorker traveling to Hollywood only to get his heart broken, Café Society name drops ancient celebrities, features a visual gag or two and characters the audience is meant to laugh along to, or at. Had it been played a little bit more straight, comparisons to An American Tragedy and The Great Gatsby would not have been out of place. Indeed, the film features a narrator who recounts even the most awful of episodes—when main characters die, for instance—in the same casual tone of voice he employs throughout the entire proceedings. And yet no amount of lightheartedness can make that final, memorable shot hurt any less.

  1. AMERICAN HONEY

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It must say something about the Hollywood production system that the most damning indictment of contemporary middle America was a film written and directed by a British woman. Andrea Arnold’s film is a poignant tale of lost youth, of its wild enthrallments of the new, of rebellion not only against adults but against the very social mores that raised them, of its frantic attempts at encountering meaning in the mundane, of its doubts masked by the confidence that only irrepressible hormones provide. But if American Honey seems to condemn anyone, it’s not the young, but the old. Shots of dilapidated homes, wretched cities, a thriving drug scene, all seem to indicate that kids must stick together or perish in the hopelessness of their forbears.  

  1. EL SECRETO DE SUS OJOS

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If reading certain novels makes it easier to visualize them on the screen, then this Argentinian wonder makes me feel as if I am in my bed, reading about the mystery of the murder of a young wife. The film works like a novel, from its opening voiceover narration, to its various flashforwards and flashbacks, to the dual romance at its center. One romance belongs to the victim’s husband, eyes peppered with longing; the other belongs to the detective assigned to the case and his boss. Above all, it manages to convey regret. Its lingering shots on door knobs, characters eyes and old photographs provide a sense of opportunities not taken, of wistfulness and a desire to love that went unfulfilled until the day bravery overcomes our fears.

  1. MULHOLLAND DR.

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Overwhelmed by the sheer ecstasy of the picture, I drove to Mulholland Drive a few days after watching it. I got my car towed, and a parking ticket. Thank you David Lynch!

6. MANCHESTER BY THE SEA

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I watched 162 movies in 2017, and none could break my heart quite as spectacularly as the three minute conversation between Lee (Casey Affleck) and Randi (Michelle Williams) near the end of the film. I dare you to watch it and not feel something, anything, swelling inside you, not only for the on-screen couple but for everyone out there who exists solely for the burden of their unforgiven sorrows.

5. MUNICH

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Munich will continue to feel timely not only for its even handed, impartial approach to the Israeli-Palestinian conflict, but for how it portrays vengeance. In horrific events such as the one depicted here, vengeance is not only clamored for, but necessary. A couple of flashy executions later, however, and the full picture starts coming into view. What is the true purpose of revenge, if not seeing others suffer the way you have? And if we want to see others suffer, what does that say about us? “There is no peace at the end of this”, somebody says, and no truer words have ever been spoken. Munich is as bleak a film as they come, yet the lessons it imparts have the potential to change the world.

4. CIDADE DE DEUS

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Beyond its unstoppable kinetic energy, more than the flawless union of humor and carnage, greater than the pirouettes the camera engages in, City of God remains with me for a very distinct reason: it reminds me of the madness of El Salvador, my home country. Until the day national cinema catches up to the greats, I’ll always have this picture as a document of what’s going on in my country.

3. 25th HOUR

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Sometimes I felt as if 2017 was too stacked, too much of a good thing. As this list makes clear, I was fortunate enough to catch many sublime films, which are among the best, if not the very greatest, of all the director’s oeuvre. It was not a problem until now, in which I had to go over all the fantastic films and settle on a mere ten. I settled on 25th Hour because there was no way around it: this is a monumental piece of work, Spike Lee’s crowning masterpiece.

2. SILENCE

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The most hauntingly despairing moment I’ve ever witnessed in a motion picture occurs 140 minutes into Silence. After suffering a series of horrendous torture rounds, father Rodrigues (Andrew Garfield) is led to a courtyard where six people are hanging upside down, their heads stuck in a pit, blood slowly dripping out of their skulls. If Rodrigues does not recant faith in Christ, they will remain there for days, until the blood runs out of their bodies. I know what my response would have been, and have been asking God for answers as to why life forces some to pits of hopelessness and cruelty, while all you hear from the heavens is silence.

1. WAR FOR THE PLANET OF THE APES

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As a whole, the Planet of the Apes trilogy illustrates why the human race will never know peace. It doesn’t portray humans as naturally bad and apes as naturally wrong; by favoring a more shaded approach, the series is empathetic to all sides of a conflict, recognizing good and evil is not as clear cut as black and white. War for the Planet of the Apes features a flawless motion capture performance by Andy Serkis, conveying more heartbreak, regret and anger with one mere glance than most actors do in entire monologues. The picture belongs to him, and he will go down as one of my favorite film characters ever. It is through Caesar’s eyes that we understand the dangers of not letting go of our grudges; the decision to not forgive unleashed a series of events that culminated in doom not only for his people, but for the humans as well.
Caesar, weary and exhausted from a lifetime of conflict, becomes a hero the moment he admits to his flaws and recognizes his mistakes; yet he is not the only one. The picture is littered with many small moments of beauty, of selflessness and reflection that you start to wonder how the heck something this meditative and thoughtful ever made it out of the Hollywood blockbuster system. When you realize this tale of tragedy, betrayal and redemption is not really about monkeys but about us, about our ancestors and our children, about our apparent inability to let bygones be bygones and focus on the beam in our eye instead of on the speck on our brother and sister, the only appropriate response is admiration.

25th Hour

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There’s three different approaches that I can take in discussing Spike Lee’s masterpiece 25th Hour, and they all possess an equal part of my brain as to make this decision much more difficult than I would have guessed. As I am a glutton I will then attempt to have my pie and eat it, too, by briefly discussing all three.

  • The “fuck you” monologue: One of the hardest parts of repentance is the admission of personal responsibility. Be it because it makes us look weak, or there’s an innate issue we seem to have with being genuinely sorry, admitting that our current dilemmas are the products of our own poor choices is a very hard thing to do. Much easier? Blame it on everybody else.
  • The 24 hour period before going away: I have trouble recollecting another movie which made such an effective use of the ticking of the clock as this one. Every word and gesture is one less until Monty Brogan (Edward Norton) goes away to prison, and Spike Lee really makes you feel it. You wish you could stop time in its tracks.
  • The “dream life” monologue: The powerful and melancholic ending comes courtesy of a monologue in which Monty’s father tells him a tale of fiction. “This  life came so close to never happening.”

A+

Narc

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Sometimes, I am overwhelmed by an enormous sense of despondency brought upon by what I perceive to be an utter lack of justice. It is a tricky feeling to balance. On the one hand I must continually keep my Christian faith in the foreground, knowing that though I am not of the world, I am in it, hence there should be some sort of strive to better it. On the other, I cannot help but be reminded of the poor state of everything, and how the only hope is the return of the King.

Narc is an intense and frenetic cop picture that kept reminding me of this dilemma. It is the mark of a great movie when motivations, consequences and behaviors are not black and white, when characters could be heroes the same way they could be villains. It is the mark of a great movie when, as the screen finally cuts to black, you are kept pondering on whether the ending was a “happy” or a “sad” one, and the events that led to it.

B+

Margin Call

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I have to remind myself from time to time that King Solomon was one of the wealthiest individuals to ever live. By itself, money is harmless, holding value just because we think it holds value, as one of the characters in Margin Call so wisely notes. Yet it is tremendously easy for me to get worked up over it, or as in the case of a scene in the movie, judge those who have it in spades.

The scene in question features two executive bankers, each one worth millions of dollars, discussing the incoming financial crisis in an elevator. Standing between them is a janitor.
It’s a nice contrast between the Haves and the Have nots, thus automatically making the aloof rich folk the villains. But going after someone just for the sake of all their millions might reveal more about our character, than it might them.

B

The Case for Christ

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Readers are well aware of my distaste for “christian” movies, for reasons that I have already expounded on before, and am to lazy to revisit right now. So it comes as more than a little surprising to find out that The Case for Christ is actually competent. As a matter of fact, I don’t think it is a stretch to call it the best movie of its kind in a very long time, perhaps ever.

B

The Departed

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The more Martin Scorcese films I watch, the more I am convinced that Silence was the picture he had been building towards to for a large portion of his career. The man has a preternatural fascination with affairs of the faith, or at the very least aspects that could easily be analyzed under a religious lens.

Before Bill Costigan (Leonardo DiCaprio) gnaws his way into Frank Costello’s (Jack Nicholson) crew, the mob boss mentions that it would probably be a bad idea to hire him, since he is probably a rat handpicked by Captain Queenan (Martin Sheen). Later on, Costigan tells Frank that one of his crew members will be the one to probably end up killing him.

As they are having breakfast one morning, Costello approaches a table of pederast priests. One of them says “Pride comes before the fall”.
More than halfway through the proceedings, Costigan asks Costello why the hell he does what he does, if he’s a septuagenarian with all the money he could possibly need.
He does not need a straight answer, but he doesn’t have to; the audience, if they’ve been keeping up to the tragic tale Scorcese has been weaving for two hours, knows full well.

A-

The Innocents

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Christians could learn a lot from examining a shot that occurs 3/4 into The Innocents. A Mother Superior has taken a baby from one of her nuns to bring it to a family for adoption. Only, she is actually going to leave it in the middle of a snowy field for the baby to die. She places the baby and the basket on the cold ground, but before she leaves, the Mother Superior takes the care of rubbing oil on the creature’s head, baptizing it.

Look on Hosea 6:6, and ponder.

B

20th Century Women

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“In a nation that was proud of hard work, strong families, close-knit communities, and our faith in God, too many of us now tend to worship self-indulgence and consumption. Human identity is no longer defined by what one does, but by what one owns. But we’ve discovered that owning things and consuming things does not satisfy our longing for meaning. We’ve learned that piling up material goods cannot fill the emptiness of lives which have no confidence or purpose.”

B+