As I read this post, I realize that in choosing to focus on one theme, I don’t represent the full movie well. Know that I really enjoyed it, I recommend it (for mature, thinking audiences), the performances are a delight, and there is much joy in the telling. And now to theme…
A couple years back at Comic-Con, I attended a panel on Faith and Comics, and watched as one panelist spouted off on why he felt that folks like DC and Marvel could not possibly be moral (his opinion, his bad, stupid, shallow opinion). His reasoning?
“They make evil look attractive. There is nothing attractive about sin!”
Several of us sat stunned. A number of the faithful applauded him – that is the kind of mindless rhetoric that asks for applause. And finally, one panelist called him on it – and I paraphrase:
“Are you a freaking idiot? Of course sin is attractive – that’s the very definition of temptation. No one would sin if it weren’t attractive. Sheesh.”
Spoiler alert: I will be giving away plot points ahead.
The appealing movie deals with Jenny, a young woman (16 going on 17), and her relationship with a much older man, David, who seduces her.
What keeps such a premise from being just out right icky (there is a sub-tonal icky throughout, but it never rises to, say, VENUS level icky) is that Nick Hornby specialty: David is so very charming.
In fact, after their first delightful meeting in the rain, I was convinced that David’s intentions were pure and platonic. David will be good for Jenny, thought I.
Just like Jenny’s dad (played to perfection by Alfred Molina), I went from “Of course not” to “well, maybe” about David being with Jenny. I can’t say as I ever embraced the relationship, but I will admit that I thought “maybe.”
He is, after all, so very charming.
And the defense against David wasn’t as charming – but true to life. I felt for the school principal who could only say that an education was important, but couldn’t begin to articulate why.
How often have we encountered arguments that consist of “Because I said so,” or “Because every one knows it” or “Because that’s the way it’s always been”?
Not good enough for the Jennys of the world; at least not with the Davids whispering such pleasing, attractive reasons why not.
In a brilliant, pivotal scene, Jenny is walking out on David, having discovered one of his secrets that she knows crosses the ethical line. David pursues her, and presents her with two arguments.
First – Jenny has gone along with all the small indiscretions he has led her through thus far; in essence, she’s already guilty. Why would another small transgression change anything?
And the irresistible argument that wins her over: This is who I am, claims David. And you like me, right? So if you like me, and this action I took is just part of who I am, how can you judge my actions?
I think it was at that point that I turned to Cath and said, “Oh, this movie can not end well.”
Jenny is seduced by charm; David is revealed as truth comes out; and everyone has to live with the consequences.
All in a delightful package, with only a slightly icky undercurrent.
The music is pure fun -- from the classic Disney-esque opening, to the hard hitting "Triple G" (every Grandma needs a theme song), to the amusingly cursed Goat (he can only speak in song). Such a wide variety of solid tunes on one soundtrack!
We got the HOODWINKED soundtrack before it was pulled from the store shelves and disappeared from online stores -- apparently a dispute between the film's producers and the record label.
Tired of drinking games that take you hours to get drunk? Use this Lost compilation, and take a swig every time Desmond says "brotha." (Again, thanks to Tamara.)
Cath and I have watched the whole series over the past few months -- from the pilot up to season five, which we hope to have done before the premiere.
Yep, my career counselor told me I needed more specific goals for my life. The challenge was answered.
When the service is over, and others head to the door, we take time to chat with our neighbors.
We seek out friends, and catch up with them.
We find our friend’s kid, Elliot, and chase him around the empty-ish pews.
We take our time.
Why? Because we are great social beings? Because we feel we need to spend time in community post worship experience?
Nope.
It’s because we want to avoid the greatest destroyer of good moods, the one thing guaranteed to erase any feelings of good will toward man that may have been arisen during the church service:
The comments are also worth a gander. My favorite question from the comments: “Is it something about having a Jesus fish on your car that makes you a lousy driver?”
UP IN THE AIR is a movie that my wife wishes could be shown at our church (the R-rated content will prevent that). It’s the kind of film that asks all the right questions, gives no pat answers, and can lead to the important searching that we all should do every now and again.
The movie intelligently (and entertainingly) asks us about definition: how we define our worth, our community, our family, our existence?
The Jason Reitman and Sheldon Turner screenplay, based on the Walter Kirn novel, forces the question front and center: the protagonist, Ryan, fires people for a living. We are shown person after person responding to the devastating news – they no longer have a job.
And if your job defines who you are? As one fire-ee asks, who am I when I wake up without a job tomorrow?
The film doesn’t stop with occupation, but has an intersection of characters probing other ways we define ourselves – through family, significant other, community, home, possessions, and on.
And what if after we’ve defined ourselves, we don’t like that definition? How do we live with the consequences of our definition?
Ryan is the perfect tour guide through such questions, as a man who defines himself by absence – removing all the ties that bind. He sets himself up as a role model; this being drama, expect his notions to be challenged.
I should also mention – this is not a movie of easy Hollywood wrap-ups; it is a movie that may point in a direction, but ultimately leaves the answers in your hands.
I got caught up on a lot of movies in the last month. Hence outdated posts like this one...
JUMPER is a lame movie in many, many ways, but I’m going to focus on just one reason why it doesn’t work – because it is a reason that crops up a lot these days.
It comes down to theme – the movie doesn’t answer the big question that it asks of itself.
SUPERMAN RETURNS was plagued by the same problem – it hit us over the head with the big question, as Lois writes “Does the world need a Superman?”
And then answers, “Uh, not really.”The only positive thing that Superman accomplishes is to fix a problem that only came to earth because of, well, Superman.
And so it is with JUMPER - it doesn't answer its big question in a satisfying way.
For those who didn’t see the movie (wise though you are), JUMPER is about a kid (David) who discovers he has the super power to teleport anywhere in the world he can imagine.And David uses those powers for purely selfish gain, breaking into banks and sating any physical desire his whim comes by.
Standard set up for super power movies – Peter Parker initially used his gifts for self-centered gain.And JUMPER does indeed want to ask the big question.
Before the action gets hot and heavy, David is in his apartment surrounded by his stuff, listening to a news report of a flood.The reporter shows stranded people, claiming they are going to die, because there is no way for anyone to get to them.
Aha! A jumper could get to them! Question asked in subtext:will David learn that with great power comes great responsibility, and become a hero?Well, this is a super movie, so of course…
Not.
The question of being a hero comes up once more, as another Jumper tells David that Jumpers aren’t heroes (despite the fact that said Jumper, Griffen, turns out to be the only one that acts heroically in the movie); so one would think that David would at least toy with the idea of being a hero.
But David continues to act only out of self-interest, all the way through to the closing credits when he and his girlfriend announce that now they are free to do whatever they want with his power, and they are going to continue seeing the world, robbing banks and feeding their selfish desires.
To be fair, he does do one thing – which I hope the creators don’t think makes David a hero, but a lot of people out there do get confused about – and that is he saves his girlfriend.
However, it’s not an action motivated by selflessness; rather he does it because he wants to possess her – he can’t stand to lose her.
Imagine if we substituted any other possession for the girl, would we consider it heroic?
David risks his life going back into the burning building to get his X-box.Heroic?
Maybe if it was someone else’s X-Box.Maybe if he was willing to trade his own life so the X-box could live.Butbecause he really wants to possess the X-box?
Not so much.
It’s almost worth getting behind the villain of the piece, who hunts down Jumpers because he is convinced that there is only negative value to their existence (David tries desperately to prove him right).
JUMPER asks the question – is there any responsibility that comes with power?