The Revenger’s Tragedy / Vengeance is ours, saith Hollywood.

Vengeance is ours, saith Hollywood. This message came through particularly loud and clear during a single week in April, in which the studios released three films about grim, determined vigilantes who seek brutal revenge against their enemies. While those who take the law into their own hands are usually anything but heroic in real life, the protagonists in Kill Bill, The Punisher, and Man on Fire are all presented in more or less sympathetic terms. All of their violent vendettas are portrayed as at least somewhat justified, and there even seems to be a hint of divine sanction hanging over their efforts. All three of them have lost a child, and sometimes other friends and family too, and all three of them have been shot and left for dead by the villains who deprived them of their loved ones. Thus, when all three of them recuperate and set out on their quests for vengeance, it is as though they have risen from the dead to set wrongs right.

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Review: Troy (dir. Wolfgag Petersen, 2004)

Gladiator gave us a nasty, brutish vision of the world, but it compensated somewhat with a soothing and vaguely pagan belief in the afterlife. The Passion of The Christ gave us the suffering and execution of the Jewish Messiah, but it concluded with a brief glimpse of the resurrection by which he conquered death. Now comes Troy, the biggest Greco-Roman epic of them all — so far — and its theology is of a more agnostic sort.

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Review: The Apocalypse (dir. Raffaele Mertes, 2002)

There have been many films about the end times, but few have had all that much to do with the actual Book of Revelation. Most apocalyptic movies have been more interested in giving the ancient prophecies a modern spin than in bringing the Scriptures themselves to life — and they have usually accomplished this by spinning a web of hokey political conspiracies and horror-movie shock effects out of thin air. Thus, these films have tended to reflect the social and cultural preoccupations of their makers much more than anything particularly biblical.

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Review: The Ten Commandments (dir. Cecil B. DeMille, 1956)

With industry analysts predicting a box-office take of over $300 million, The Passion of The Christ is easily the biggest religious blockbuster in decades. But for sheer popularity, staying power and cultural clout, it would be hard to top the biblical epics of the 1950s.

One film towers above them all. According to Box Office Mojo, Cecil B. DeMille’s The Ten Commandments — which is now available as a “special collector’s edition” DVD — grossed the equivalent of $790 million in its day, and thus remains one of the five most successful films of all time.

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Harry Potter’s Christian fans come to his defense

John Killinger: God, the Devil & Harry Potter, St. Martin’s, 2002.
Connie Neal: The Gospel According to Harry Potter, Westminster John Knox, 2002.
John Granger: The Hidden Key to Harry Potter, Zossima, 2002.

CHRISTIAN Harry Potter fans, unite!

It has been over two years since Richard Abanes wrote Harry Potter and the Bible: The Menace behind the Magick, a scathing critique of just about everything to do with J.K. Rowling’s bestselling series about an orphaned English boy who goes to a boarding school for witches and wizards.

Since then, no one has really added to Abanes’s criticisms, but quite a few Christians have lined up to defend Rowling and her books against the accusation that they are simply trying to warm children up to the sort of real-life occultic practices that are forbidden in the Bible.

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Review: Insomnia (dir. Christopher Nolan, 2002)

Memento, a smart, stylish neo-noir about a vengeful widower with memory problems that told its story backwards, proved director Christopher Nolan could work wonders with an original idea and a decent gimmick. Now Insomnia, a fairly straightforward and much more linear remake of a recent Norwegian thriller, shows Nolan can be just as compelling when he’s reworking more conventional material. This film marks one of those rare moments when a European story works fairly well in the hands of an American cast; perhaps the fact that Nolan is British helped.

The main character in both films is a cop who travels north of the Arctic Circle during the summer, when the sun never sets, to investigate a murder. There, he does something, quite by accident, that he is desperate to cover up; and thanks to the harsh, unforgiving light that never stops pouring in through his hotel room window, despite his best efforts to block it out, he is sleepless with guilt. The hallucinations he begins to have, in his sleep-deprived state, don’t help either.

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Review: Black Hawk Down (dir. Ridley Scott, 2001)

The folks who brought you Pearl Harbor are now bringing you Black Hawk Down, and despite the fact that both war movies feature Josh Hartnett and Tom Sizemore in key military roles, the films are very different.

Where Pearl Harbor was full of saccharine romance, nostalgic production design and eye-popping special effects, Black Hawk Down is a decidedly grim and realistic account of a botched military operation that resulted in the deaths of 18 Americans and more than 1,000 Somalis eight years ago. Where Pearl Harbor was widely dismissed for its commercialism, Black Hawk Down tries very hard to earn respect. This is the film producer Jerry Bruckheimer hopes will be remembered at Oscar time.

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Fantasies and fairy tales speak to our spiritual needs

MAGIC is everywhere you look these days. From bookstores to movie theatres, stories about wizards, witches and mythological beasts are all the rage; and for a person like me, who grew up with hobbits, aliens, flying horses and Jedi Knights, the current fantasy craze — and the various Christian responses to it — bring back a lot of memories.

How popular is fantasy right now? The most successful movie of the year (so far) is Shrek, a cheeky parody of the fairy tale genre that turns conventional wisdom about ogres, dragons and beautiful princesses on its head. That film’s box office performance could be surpassed in a few weeks by Harry Potter and the Philosopher’s Stone, the first film based on J.K. Rowling’s phenomenally popular novels about a young orphan and his classmates at Hogwarts School of Witchcraft and Wizardry.

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Review: Jurassic Park III (dir. Joe Johnston, 2001)

There are any number of reasons to expect the worst from Jurassic Park III. It’s the second sequel to the original Jurassic Park, and sequels, as a rule, are supposed to get progressively worse. In addition, it has been eight years since the first film came out, and the computer-generated lizards that seemed so ground-breaking back then have become all too common; thanks to Godzilla, Dinosaur, Evolution and similar films, the presence of larger-than-life reptiles virtually guarantees a film’s mediocrity.

As if these factors weren’t enough, Jurassic Park III is, at about an hour and a half, unusually short, so audiences may think they aren’t getting their money’s worth; and the creative minds behind the first two films — director Steven Spielberg and novelist Michael Crichton — had little to do with this entry in the franchise.

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Is Harry Potter a menace to our children’s souls?

Richard Abanes: Harry Potter and the Bible: The Menace Behind the Magick, Horizon, 2001.
Connie Neal: What’s a Christian to Do With Harry Potter?, WaterBrook, 2001.

YEARS AGO, as a teen, I heard a man at a church speak on the evils of popular culture. I expected him to rail against the usual suspects — rock and roll, Star Wars, Disney cartoons with grey-bearded magicians in pointed hats — but I was entirely unprepared for when he turned his attention to My Little Pony. Some of these seemingly innocuous toys, he noted, had wings or horns, like the unicorns and flying steeds of Greek myth, and this, he said, was not good. “There’s nothing wrong with ponies,” he said with utter conviction. “God made ponies. But God didn’t make little unicorns.”

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