This film could have been phenomenal, as its premise - one of Christianity's most learned intellectuals (Douglas Wilson) debating one of the most learned agnostic intellectuals (Christopher Hitchens) - is very intriguing. A documentary comparing the two philosophies articulately would be very beneficial to the entire world. Sadly, Collision is not that documentary.
Directed by the future director and co-star of "Kirk Cameron's Saving Christmas" (no, I'm not kidding), Collision looks like a movie some high school film students might make showing them following two philosophers around. The cameraman can never seem to figure out where the shot should go, so nearly every moment in the film is filled with jittery handheld camera movement. The music, mostly rock and rap stock music, rarely seems appropriate to the scene it is being played on. Sometimes, it is hard to hear what is being said because the music's volume has been turned up too high. The filmmakers clearly show their bias for Wilson by twice showing him happily eating supper with his family. How many times does Hitchens get shown at home? Zero.
The viewpoints of Hitchens and Wilson are both very intriguing. Interestingly enough, the film never shows Wilson actually answer Hitchens's question of why murder and rape is always wrong, except for when the ancient Israelites supposedly by divine approval committed mass genocide against the Cannanites and took their young women for mistresses. Wilson always deflects the question by asking how murder and rape are wrong by secularism, a valid question but not in any way an actual answer to Hitchens's question.
Collision could have been a great, enlightening documentary, but its impact is sadly dampened by the amateur skills and philosophical biases of its makers.
Directed by the future director and co-star of "Kirk Cameron's Saving Christmas" (no, I'm not kidding), Collision looks like a movie some high school film students might make showing them following two philosophers around. The cameraman can never seem to figure out where the shot should go, so nearly every moment in the film is filled with jittery handheld camera movement. The music, mostly rock and rap stock music, rarely seems appropriate to the scene it is being played on. Sometimes, it is hard to hear what is being said because the music's volume has been turned up too high. The filmmakers clearly show their bias for Wilson by twice showing him happily eating supper with his family. How many times does Hitchens get shown at home? Zero.
The viewpoints of Hitchens and Wilson are both very intriguing. Interestingly enough, the film never shows Wilson actually answer Hitchens's question of why murder and rape is always wrong, except for when the ancient Israelites supposedly by divine approval committed mass genocide against the Cannanites and took their young women for mistresses. Wilson always deflects the question by asking how murder and rape are wrong by secularism, a valid question but not in any way an actual answer to Hitchens's question.
Collision could have been a great, enlightening documentary, but its impact is sadly dampened by the amateur skills and philosophical biases of its makers.
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