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StanleyDWilliamsPhD
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Not Today (2013)
Authentic Story Worth Seeing
Shot mostly on location in India this is the story of an America young man who helps a Hindu father recover his daughter whom he has been forced to sell (unknowingly) into sex slavery. NOT TODAY is in the same genre as TAKEN (2008) and SOUND OF FREEDOM (2023). But when you consider that NOT TODAY had 10% of SOF's budget, and 6% of TAKEN's budget, NOT TODAY comes out as a terrific movie. Yes, TAKEN is the relentless thriller, much like INDIAN JONES: THE DIAL OF DESTINY, that the backers of SOUND OF FREEDOM claimed to beat on opening day. (A lie). As noble as any movie is that exposes the sex trade (which all three above do), SOF is boring, NT is authentic, TAKEN is thrilling, but IJ:TDOD beats hands down as a box office coupe. Of course, IJ:TDOD is not about the sex trade. I only bring it up because SOF backers were claiming to have beat it at the BO. They didn't by a factor of 60:14 on opening day, and by the end of the weekend, it looks to be like 249:21. NOT TODAY is also valued because as a faith film (which I typically dislike) it didn't preach. It just showed rawly the situation and let you make up your mind. Hats off to Jon VanDyke who worked very hard to get it done without much support.
Let Me Have My Son (2023)
An Emotional and Artistic Accomplishment
My friend and accomplished international writer-director of many decades, Cristobal Krusen, has just released a very personal and loving film about the mental illness that has entrapped his son, Daniel, for most of his son's life. For years I received Cris' sensitive and insightful newsletters that chronicled the ups and downs of the father and son's struggle with Daniel's schizophrenia.
Many of us encouraged Cris to make a film about the often tragic but always hopeful life he endured. At one point Cris sent me the script for notes. Finally, Cris has done it, with numerous awards and accolades. We loved the film and Cris' artistry in telling a very emotional and difficult story. The film is not a documentary, but a fictional narrative of the very real and often emotional journey of a father searching for his son lost in mental illness.
A delight for those of us who are Cris' fans is that for the first time Cris is both IN FRONT of the camera as well as directing. For most of the film he plays himself as the fictional father of Benny, the fictional Daniel. Great directing and acting, beautifully lensed by Michigan's Richard Brauer of Travelers City.
Brothers of the Wind (2015)
Spectacular
Read KobusAdAstra's good review. It's accurate. This film is a dramatic narrative from an original script. It's not a contrived nature film. The cinematography is breathtaking. The acting good, the gold eagles amazing.
Baghdad Central (2020)
Fabulous in every respect
I'm not a fan of this 6 episode season business, but the writers, Ben Williams (dir), and acting were captivating, and they pulled off a nice story with a beginning, middle and end, with nice disasters at every act break (6). I'm working with an Iraqi director right now who was born in Badhdad, and she says the portrayal and relationship between the Iraqi elements and the UK and Americans is both real and honest...for the most part. That this was all shot in Morocco is reasonable and fascinating.
Seuwingkizeu (2018)
A Masterpiece of Drama and Art
Philosophy tells us that art can lead us to both truth and peace, if we will "listen" to it, and contemplate the face of a creative God in true art's presence. But the problem we all face are the evils associated with bigotry and it's sister prejudice and how they can escalate less disciplined minds and fall into identity politics, hatred, and war. SWING KIDS is a movie that explores such an intersection in a ming boggling display of artistic filmmaking, story telling, raw talent, and subversion. Although, at times it was hard to follow because the characters always spoke in their character's language (Korean, Chinese, Japanese, and English) with subtitles that often went by too fast to read and comprehend. The historic camp they are in, is also a bit confusing, as I was never quite sure if the American's were prisoners or guards, or how the POWs gained access to resources to cause havoc. IT is clearly a WAR drama, with the blood and violence that goes along with it. But the movie is also a dazzling display of tap dancing, and filmmaking which does not disappoint. The cinematography and editing are amazing, as is often the staging, blocking, and art direction. It was disappointing that a few of the characters (like Brigadier General Roberts) were stereotype cardboard cutouts of bad behavior. But the five dancers, especially Jared Grimes and Hye-soo Park were incredible. Hats off to visionary writer-director Kang Hyeong-cheol.
Living Dead Girl (2003)
Remarkable Theological Statement
My ranking is for the remarkably clear statement of Catholic theology this short film makes, not for its cinematic expression. Jon takes a seemingly worn out genre and filters it through the Catholic understanding of transubstantiation, where in the bread and wine of the Eucharist, through a miracle of Christ, are transformed into elements that bring communicants eternal life. The Gospel proclaims that though we may be dead in our sin, through Christ's righteousness we regain our life. In partaking of the Eucharist (the sacramental and substantive real presence of Christ) we are given life when we eat of Christ's body and drink his blood (see John 6). Zomies are the walking dead, which is not a bad metaphor for most human beings who live with no hope of the future or for the transformation of their pitiful existence. Along comes Christ, standing on a street corner, and a zombie finds him. Extending his arms in love, she takes a bit of Christ, not dissimilar to a Christian consuming the Eucharist. The miracle that beautifully reflects and parallels Catholic theology is that what was once dead, now returns to life.
Expelled: No Intelligence Allowed (2008)
How Expelled Uses the Scientific Method
Another reviewer (SRS) claims that Intelligent Design (ID) is not scientific (e.g. it does not use the scientific method SM) and so the movie EXPELLED has no basis in science. SRS claims the movie is filled with fallacies. But SRS, in making such a claim, commits several fallacies ignoring the evidence.
In simplest terms the SM can be described in these steps: (1) Curiosity & Presuppositions (2) Observation (3) Hypothesis (4) Experiment (5) Theory (6) Test (7) Law.
In EXPELLED, Stein does not set out to prove ID, but rather prove that there is a bias against including ID in a discussion about the origin of the universe. To do that, Stein uses the SM. He (1) talks about his curiosity and presuppositions that there is academic freedom. (2) Then he enumerates his observations, that there are a lot of people that want to restrict investigation into ID and even rid the world of anyone that believes in God. After a lot of observations (which we see in the film through interviews) he forms a (3) hypothesis that scientists are being expelled because of their inquisitiveness or embrace of ID or the idea of a God. (4) He runs some experiments regarding his hypothesis and asks some of the anti-ID spokespersons about the hypothesis, and discovers a deep resentment and prejudice against God and the idea of a Supreme Being, and the desire by some of these so called scientists to rid the earth of such people. The comments and conclusions by these scientists are not based on any scientific evidence but a prejudicial bias. (5) So, Stein concludes with the theory that there is a bias against ID and that there is NOT the academic freedom to pursue ID in the conversation about the origins of the universe.
If he continues or others continue to see this pattern in further (6) testing, then it can be established as a (7) law.
So, Stein uses the SM in this social investigation of bias.
Now, ID, is a bit more mechanical. Using the same seven steps:
1) Curiosity and Presuppositions: The instigation of all investigation is either the need to solve a problem or just inquisitiveness, and perhaps a little of both. In terms of the ID question, there is something about what we observe that intrigues us. And the presuppositions that all scientists make is that there is something to discover, such as a rule, a law, a structure... or perhaps a randomness. Without this built in sense of need to discover, or assumption that something CAN BE discovered, there would be no need to observe or hypothesize.
2) Observations of the universe at all levels and disciplines reveal sophisticated orders and structures to all things that are beyond the ability of a human designer to even comprehend, let alone design. The movie uses as an example the sophisticated inner workings of a cell. It is a factory so complicated that it boggles the mind of today's scientists and is beyond what any computer could manipulate. Yet it is clearly not random.
3. The hypothesis is that there was a designer of everything we observe with order and structure, and further more the designer is beyond us in intelligence.
4. The testing of the hypothesis takes the form of measuring and quantifying the observations and comparing (quantifiably) what we see in nature to the designs of men -- in terms of interdependencies, statistics, probabilities, and sophistication. In each instance, the measurements we observe in nature are beyond what man could do, even with all the computer or manufacturing tools in the world.
5. The theory is established that there is not just any old intelligent designer, but one that is superior to any designer on earth. I do not have to meet or see or know the name of the designer to know that someone a lot smarter than I am created the computer and software that I'm using to type this. My observations, and the testing of my intelligence with respect to making my computer work, proves that there is an intelligent designer behind the computer. So much so behind nature because the physical, observable, and measurable evidence is so much in abundance.
6. The more testing we do
7. The more the theory of (5) becomes a sure thing, a law (7).
The Nativity Story (2006)
Phenomenal Film
This is every bit as engrossing as Gibson's The Passion... I was expecting a cheap made for TV movie with a stilted script, spoken in Midwestern slang. What a surprise! Of course, Mike Rich has the pedigree having written several other inspirational hits. But Catherine Hardwicke's passion for authentic production design was over whelming, and helped, no doubt, the actors in their roles. There are many scenes that are tableaux and iconic, which some may criticize, but I appreciated. After all, this is a true story of mythic proportions that deserves idealized visuals and sets. No doubt the gifts the wise men brought were not in such idealized containers, but the prop design for them perfectly represents of their significance. Such a mix of idealized and realistic elements raises this film to true art -- that which is good, true, and beautiful. I especially appreciated Joseph's role in protecting and carrying selflessly for Mary. He's in awe of who she is. As we should be.
Thérèse: The Story of Saint Thérèse of Lisieux (2004)
By far a pleasure not a pain.
THÉRÈSE: Review by Stan Williams, Ph.D.
The word on the street and in other reviews is that THÉRÈSE, the movie, is a
pain to watch for all sorts of predictable reasons. I had not wanted to see the film but as a producer, director and sometimes Catholic film critic, felt it was my obligation. Besides I've met and respect the director, Leonardo DeFlippis and producer, Brian Shields as gentlemen who are sincere about their faith and try their best at the craft.
So I went last night with friends to a Cineplex where THÉRÈSE is now in it's
fourth week.
My reaction was very different from my peers. I liked the film, and it brought me to tears several times. Perhaps my take on it was positive because I had just attended a film festival where most of the films were horrible testaments to both story and the film-making craft and I was dying for anything that was shot within the most basic of rules. Or perhaps it was because I stood in line with hundreds of teens buying tickets to THE GRUGE, sort of the antithesis of THÉRÈSE. Or
perhaps it was because I've been teaching a couple of beginning film directing courses and after watching the beginning efforts of my students leads one to
feast on anything half well-done.
Or perhaps it's because I'm a filmmaker trying to make my first feature (I've produced and directed hundreds of corporate and non-profit fare), and I know
what DeFlippis went through to get his film made and admire him for it. Or
perhaps it's because I went to daily Mass for several years at The Shrine of the Little Flower in Royal Oak, MI and know a little, but not much, about THÉRÈSE from my visits to the church's museum about her. Or maybe I just like
disagreeing with people. But, for whatever the true reasons, I liked THÉRÈSE
very much. I came out a better person than when I went in, and I thought the
movie was well-crafted. Here are some specifics.
The director, Leonardo DeFilippis, has a reputation for overly dramatic one-man chancel dramas, and the criticism I had heard about THÉRÈSE was in that vein. But DeFilippis' performance as Therese's father is reserved, subtle, and refined. He cuts a good figure for a bourgeois Frenchman in the mid 1800s. For a first time film project, DeFilippis' direction is consistent, deliberate, and appropriate for the subject matter. Some may be disappointed by the number of small-scale and reserved tableau's, but for the budget and the simple story that the movie tries to convey in France in the mid 1800s, the project is well executed.
Catholic film critics are fond of criticizing the idea of producing "Saint Movies," as if such projects are below the calling of a writer or producer or are impossible to do well for a secularized culture preoccupied with tent pole releases. But what we forget is that the story of St. Therese is not in the same dramatic genre as THE PASSION, or A MAN FOR ALL SEASONS. Yet, there is movie material
here, for there is a clear dramatic goal and conflict through which the
protagonist perseveres and accomplishes, ironically through death. THÉRÈSE,
the movie, is an ironic love story that works. It's a period drama about a calling not unlike Joan of Arc but without the swordplay.
DeFilippis' reasons for not previewing the movie with Catholic reviewers was
another signal that the movie was a bomb. We thought he was embarrassed to
let it be seen. But perhaps too many of us are cynical Catholic reviewers who are holding out for another LORD OF THE RINGS or trying desperately to avoid
another MERCY STREETS or LEFT BEHIND. And while THÉRÈSE is not in the
adventure-thriller genre (nor is it a "Presumptuous Preachy") it is an adventure of the soul that connects to the audience easily; for we all struggle with
acceptance of who were are in the shadow of an almighty God.
Before production, the script was criticized by respected script consultants. But the film's execution (with perhaps some script revisions) reveals a well-crafted story that is true to its source material. There is a clear goal, both physically and psychologically, good drama, character arcs, and turning points. And there are some great lines, like the first one we hear: "I want to be a saint, but I feel so helpless." In that one line we have the dramatic arc of the whole movie. That is good script writing, in one short sentence the moral dilemma of the protagonist is presented for our evaluation, and we root for her until she achieves it, and the fade to black.
For a low budget film ($1M) the cinematography and source lighting is lush and arresting to watch. The locations authentic and simple, as is the story is
intended. There are great reveals, and the art direction and costuming are an achievement for such a low budget effort. There is, however, a head-cropping
problem in the framing.
Lindsay Younce, who plays Thérèse, is believable and we like her. Her
simplicity of beauty and delivery represents well the persona of real Thérèse, and there is a similarity in their appearance. Even in her sickness and visions, we believe Younce's interpretation. The camera likes Younce and we do too.
But the real surprise is the score by Sister Marie Therese Sokol, a cloistered Carmelite nun near Seattle. It is magnificent with a sure hand at subtle
orchestrations, dramatic underscore, and comic relief. I do hope her superiors let her write more scores.
THÉRÈSE may not be popular mainstream fare, but it is a very good movie that
is easy to watch, and I predict will become much more than just a cult classic. It will be used widely to teach and inspire young women and men about the true
Christian understanding of love, sacrifice, and worship of God in the littlest but most profoundest of ways.