Albert Nobbs [2011]

MPAA (R) CNS/USCCB () Roger Ebert (3 Stars)  Fr. Dennis (2 Stars)

IMDb listing -
http://www.imdb.com/title/tt1602098/
CNS/USCCB review -
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120125/REVIEWS/120129981

Albert Nobbs (directed by Rodrigo Garcia, screenplay by Glenn Close, John Banville and Gabriela Prekop) is a diminutive tale based on a story first presented over the course of chapters 45-53 of the early-20th century Irish author George Moore's novel A Story Teller's Holiday [1918] about a waiter named Albert Nobbs with a secret working at a higher-end hotel in Dublin at the end of the 19th century, the secret being that he was actually woman though presenting him/herself to the outside world (most notably to his/her employer) as a man.  The story was later reprinted under the title The Singular Life of Albert Nobbs in a collection of short stories by George Moore named Celibate Lives [1927].  The story was then adapted for as a one-person stage under the same title.  Glenn Close, who has received an 2012 Academy Awards nomination for her playing the role Albert Nobbs in the current film, received an Obie (Off Broadway) Award for playing Albert Nobbs in the stage production in 1982.

What to make of a film based on a short story that originally appeared as merely an episode in an early 20th century novel by an otherwise largely forgotten author perhaps best known for possibly influencing the far more famous Irish-born author, James Joyce?  Clearly the story has resonances with concerns of the present day.

Is it a great film?  Not especially.  It's primarily an art film.  As such, its appeal is certainly limited.  Nevertheless, it's a story that's interesting on a number of levels.  First, the story serves as reminder that even in the early 20th century (and if one thinks of Oscar Wilde during the Victorian Era) questions regarding sexuality and gender roles were not completely buried.  Second, the story/film reminds readers/viewers of a robust artistic/literary tradition that has existed in Ireland for at least a century that has often flown in the face of  both sentimental and at times dismissive stereotypes portraying Ireland as a placid outpost of unquestioning, unreflective, 'yes man' Catholicism.  James Joyce, after all, has come to be considered one of the most influential authors of the 20th century and his book Ulysses was voted as the most influential English language book of the 20th century.  In more recent years, with increased prosperity and the success of artists like Bono and actors like Liam Neeson, Ireland has become the home of an energetic youth oriented culture.

Indeed, I look forward to reading (and posting links to) reviews of this film coming from the various sectors of contemporary Irish society -- from its artistic/literary community (the film was screened to Irish Film and Television Academy members at a gala event in December 2011, and has since been nominated for sever 2012 IFTA awards), its youth culture (entertainment.ie, movies.ie), and yes, by one or another agency or office of the Catholic Church in Ireland.

I reiterate that Albert Nobbs (also starring Mia Wasikowka as one of the hotel's maids and eventually _something_ of a love interest to Albert Nobbs in the story) is not exactly a great film.  I do think that the primary complaint that a lot of young people (late-teens, young adults, I would not recommend the film to folks below high school age) will have in regards to the film would be that it is quite slow/boring (hey, it was written only a few years after the end of the Victorian Era ...).

Nevertheless, I do see the film as an invitation for readers of this blog to explore / discover through commentary written about the film and recent movies in general an Ireland that is perhaps far more energetic and vibrant than many would have previously thought.  And I do believe that St. Patrick, who indeed suffered much as a young adult and could be taken as a result as something of a patron to young adults, would be proud (I'm not talking here of this movie which is definitely still a "look back" or "backward looking," but rather of the cultural engine that Ireland has become over this past generation often led by its young).

ADDENDUM -

According to the Irish Times (3 Feb 2012), Albert Nobbs will be shown at the 10th Annual Dublin International Film Festival which will run between Feb 16-26, 2012.


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Man on a Ledge [2012]

MPAA (PG-13)  CNS/USCCB (A-III)  Roger Ebert (2 Stars)  Fr. Dennis (2 1/2 Stars)

IMDb listing -
http://www.imdb.com/title/tt1568338/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv012.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120125/REVIEWS/120129979

Man on a Ledge (directed by Asger Leth and written by Pablo F. Fenjives) is a film simple enough in concept that I suspect a fair number of people will object to account of its implicit politics:  Two years after NYPD cop Nick Cassidy (played by Sam Worthington) is framed by New York financier "big shot" David Englander (played by Ed Harris) for stealing a diamond that never went missing (but Englander needed to report missing for the insurance money to cover his Leeman Bros. losses) Cassidy improbably breaks out of prison and sets about doing the only thing that he could do to prove his innocence: prove that Englander still has the diamond.

How does he do that?  Well, he rents a room in a highrise upscale hotel next to Englander's headquarters and _walks out on a ledge_.  Why does he do that?  Well, to distract the police while his brother Joey (played by Jamie Bell) and Joey's hot (and more practically _thin_) girlfriend Angie (played by Genesis Rodriguez) break into Englander's offices to steal the diamond (and thus prove that Englander had it all along).  Of course much happens.

Obviously, the film requires a good deal of suspension of disbelief.  That Nick Cassidy would have been a cop, and then one who had previously "worked" in a sense for Englander (who had enough "clout" in the city to "borrow" cops on occasion for "security") does help the story somewhat.  Nick Cassidy (and presumably then his brother) would know something of Englander's security setup in his offices.  Nick would also know a fair amount about NYPD protocols.  Still, there's a "come-on" feel to the film.

On the other hand, it is probable that (1) "terrorists" could first take-control and hijack an entire U.S. battleship, and then (2) a single sailor, a lowly "cook" (who it turned-out was actually a Navy Seal only pretending to be a cook) could then take-down the terrorists, one-by-one, and eventually re-take the whole ship?  NO.  But it makes for one heck of a movie for a lot of American men facing declining economic prospects, competition from foreigners abroad and women and home and who may have felt Under Siege [1992] by it all.

Man on a Ledge is a similar kind of film.  It plays on a widely-held sense among the American public that "the little guy," who even followed the rules (a good cop) "took the fall" for 2008 financial crisis, while the big-shot Wall Street financiers who caused the crisis "walked between the rain-drops" and got away with _massive theft_ "scot-free."


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The Grey [2011]

MPAA (R) CNS/USCCB (L) Roger Ebert (3 1/2 Stars) Fr. Dennis (3 1/2 Stars)

IMDb listing -
http://www.imdb.com/title/tt1601913/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv011.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120125/REVIEWS/120129984

The Grey (directed and cowritten by Joe Carnahan along with Ian Mackenzie Jeffers based on the short story by Ian Mackenzie Jeffers named "Ghost Walker") is about seven Alaska oil workers who out of a much larger group survive a plane crash in the Alaska wilderness only to be stalked, killed and eaten by wolves as they seek to find their way back to safety/civilization. 

It is a thoroughly harrowing tale that in its starkness asks of both the characters, led by Liam Neeson who plays a rifleman who had been working for the oil company as a guard hired to precisely keep wolves and other predators away from the other oil workers, as well as well as the audience some fundamental questions about life and death -- Who/what do you live for?  What/who are you willing to die for?  What's the meaning of an existence that at times can be so randomly cut short and over which one often has so little control?  And yes, where does God fit into the picture?

The picture becomes more poignant when one recalls that in real life, Liam Neeson (wiki) had lost his wife, Natasha Richardson, in 2009 to a freak skiing accident.  As such the questions asked and the manner in which they are asked are honest if certainly challenging to a Christian/Catholic believer. 

Indeed, winter, cold, snow, the grey skies of the frozen north, etc have all figured prominently in a fair number of American films in recent years -- The American [2010], Riding Hood [2011], Hanna [2011], The Girl with the Dragon Tattoo [2011] and now The Grey [2012] -- often coupled then with explorations of themes of betrayal, loneliness, superficiality and/or hypocrisy.  In this time after 10 years of war and seemingly long-term economic uncertainty, is Hollywood (re)discovering its "inner Swede"?  and calling believers of our time to face fundamental questions of existence, justice/injustice with the honesty of the famed (and Nazi-era martyr) Rev. Dietrich Bonheoffer who already in the 1930s declared that he wasn't interested any more in what he dismissed as "cheap grace?"  Perhaps.


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One for the Money [2012]

MPAA (R) CNS/USCCB (A-III) Fr. Dennis (3 1/2 Stars)

IMDb listing -
http://www.imdb.com/title/tt1598828/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv013.htm

One for the Money (directed by Julie Anne Robinson, screenplay by Stacy Sherman, Karen Ray and Liz Brixius based on the gritty New Jersey romance novel by the same name by Janet Evanovich) is a remarkably good, well written, laugh-out-loud funny, if at times foul-mouth, rom-com that really deserves far more recognition than this initial installment is going to get.  However, One of the Money as a novel is the first in a series.  So one gets the sense that we're going to be seeing far more of Stephanie Plum (played by Katherine Heigl who believed in the picture enough to be an executive producer for the film) in the years to come.

What's the film about?  The film begins with Stephanie Plum approaching her parents' working-class Trenton, NJ home in her red sports car convertable, telling us her situation: She was coming home to Trenton, 6 months after being fired from working in the lingerie department at a Macy's department store somewhere in Newark, knowing that this was probably the last time she was driving her red convertible.  She parks the car in front of her parents' house, takes a long last look at it, and notes that she's 5 minutes late, meaning that her mother will think that she's dead.

Ma (played by Debra Monk) opens the door and the first thing out of her mouth is indeed "You're five minutes late, I thought you were dead."  Stephanie shrugs her shoulders, passes by the statue of Mary as the Immaculate Conception on her parents' porch and enters the house.  Ma notices Stephanie's car, confused, impressed, we don't really know, because before she can say anything, Stephanie tells her "Don't worry Ma, it'll be gone within an hour."  And the repo people are there taking the car away in less than ten minutes ...

Steph's home, so the family sits down to have dinner.  There's Ma, there's Pa (played by Louis Mustillo) and Grandma Masur (played by Debbie Reynolds).  Stephie shares her sob-story.  She's lost her job -- six months ago -- they just took her car and she's broke.  The folks quickly chime in with kind, well-meaning, "we're on your side" but, of course, totally obvious, generally inappropriate and certainly unsolicited advice:  "You need a job," says Pa.  "You need a husband," adds Ma.  Grandma, confused, chimes in, wondering how bad the economy's must have become, 'cause: "Everybody likes a good thong ..." And there it is ... :-).

A job's still probably the most realistic thing to find at this point.  Steph's already been married.  It didn't work out, has no particular prospects and isn't exactly looking.  Heck even her hair's all frizzy ... But where then to get a job?  Ma, pa and grandma scratch their heads and come up with Cousin Vinnie, who runs a Bail-Bonds place in the center (or at the edge) of town (take your pick ...).  "Cousin Vinnie?  He tried to make-out with me at my wedding?"  But at least it could be quick money.  We find out at Vinnie's (played by Patrick Fischler) Bail Bonds place what happened: "Steph, look I'm sorry about what happened back then.  I was very, very drunk and you looked like an old flame."  "Vin, I was in a white dress and a veil." "Yes, but I was very, very drunk ..."  And so it goes.  

Vinnie's tougher-than-Vinnie secretary named Connie (played by Ana Reeder) finds her a job that Steph's certainly gonna love: bringing in Steph's first love, apparently former heart throb Joe Morelli (played by Jason O'Mara).  Morelli had taken Steph's virginity near the end of high school (Okay, parents take note, this is _not_ a film that would give good role-model advice, except in a back-handed, "for the love of God don't do this" sort of way to impressionable teens...), "one night on the floor of the bakery" (where she worked in her first job). As Steph recalled the story, she noted "I gave him all my canoli that night." (Connie recalls, with a sigh "Honey, a lot of girls gave him their canoli back in the day ...").  And of course Joe dumped Steph.

It turns out that Steph had already gotten back at Joe years ago, something that Joe's mother (played by Angela Pietropinto) never forgave her for: "I just hope you live long enough to have your only son run over by some crazy-a b..., breaking his leg in three places, because she's pissed off at my boy for some crazy-a reason ..."  And Joe also hasn't forgotten either, "I remember you, Steph, every time it rains ..." ;-).  Anyway, Joe's since become a cop and was recently accused of shooting a low-life drug dealer but then inexplicably skipped-out on $500,000 bail.  All of Trenton's police force, of course, knows exactly where he is and what he's doing, but no one's bringing him in.  Still, Vinnie's out $500,000 and if Steph brings him in, 10% of that, $50k, would be hers... 

So this then sets up the story.  Steph sets out to find and bring in former "love-'em-and-leave 'em Joe" to the police (who know where he is already anyway ...).  Joe of course doesn't want to be brought in.  And there's obviously "a story" about that shooting that Joe was involved-in as well ... Much ensues...

There are all sorts of characters that both Steph and the audience are introduced to along the way, often in a very stereotypical but also in a very funny fashion.  There's Vinnie's ace bounty hunter "Ranger" (played by Daniel Sunjata) who oozes such utter _coolness_ that he's like a refrigerator when he's in the room.  He takes Steph, who wants to be a bounty hunter but doesn't even have a gun (just pepper spray) under his wing.  There are two prostitutes who Steph befriends and become her "contacts."  Says Lula (played by Sherri Shepherd), the friendlier, more cooperative of the two streetwalkers: "We have a good-cop / bad-cop routine here, only we're hookers ...").  There's a young gay Asian man named John Cho (Leonardo Nam) who "saw everything that went down the night" that Joe took down the low-life drug dealer, but between his accent and mannerisms it's all but impossible to understand him.  Yet, despite the "challenges" that Steph faces ... to no one's surprise, everything gets resolved in the end ...

Obviously, this film not going to win any "Walton Family Legacy Awards" or anything like that.  The lexicon of the characters of One for the Money has far more in common with that of the Blagojevich family of recent memory than with the Waltons ;-).  So if language is an issue at home, this film is definitely not for you.  But it is a very, very funny film and would certainly make for a _great_ young-adult date movie as Valentine's Day approaches.  

Indeed, since seeing Woody Allen's Midnight in Paris, I've often wondered how great it would be if a theme park like Universal City would create a section of its park where people could enter into the "Paris of the 1920s" created in that film to chat with the characters portrayed in that film.  Leaving One For the Money, I felt the same way about Stephanie Plum's Trenton, NJ created in this film.  What a blast it would be to spend an hour or two walking through the over-the-top world and larger than life characters portrayed here.  Honestly what great story and what _great_ imagination!  Congrats Janet Evanovich, the screenwriters of this film, and Katherine Heigl and the rest of the cast for taking it on!


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My Reincarnation [2011]

MPAA (NR)  Fr. Dennis (3 1/2 Stars)

IMDb listing -
http://www.imdb.com/title/tt1742084/

My Reincarnation (directed by Jennifer Fox) is documentary which has followed 20 years of the life of Yeshi Silvano Namkai (from his mid 20s to his mid 40s today).  Yeshi was born in Italy some 40-45 years ago to Chogyal Namkhai Norbu, an exiled Tibetan Buddhist master, and Choogyal's Italian wife.  A few years after Yeshi was born, Choogyal was informed by various Tibetan Buddhist practitioners from "the old country" that they believed that Yeshi could be reincarnation of Chogyal's uncle who had been a well known Buddhist monk prior to his death at the hands of Chinese Communist authorities in the late 1950s-early 1960s.  Making note of this news, and informing his son of it at a relatively early age, Chogyal nevertheless had taken a perhaps typically Buddhist approach to the matter, one of detachment -- if this were true, that his son Yeshi really was the reincarnation of his uncle then it would inevitably manifest itself in some way, if not, then ... it won't.  Fascinating!

Particularly interesting during the course of the film were Yeshi's evolving feelings toward his father, who at the beginning of the film (when Yeshi was being interviewed in his mid 20s) Yeshi clearly resented for being "detached" and largely away from his family, as well as Yeshi's evolving feelings toward predictions regarding his destiny, which at the beginning of the film (again when Yeshi was being interviewed in his mid-20s) Yeshi did not particularly take seriously.  Yes, he knew what had been said about him -- that he was the reincarnation of his great-uncle -- but at the time of the beginning of the documentary (20 years ago) like most people his age, Yeshi was far more interested in getting married and getting a job (he found one working as a sales-rep/technician for IBM in Italy ;-).

However as the years went on in the documentary and he had gotten married and had kids of his own, Yeshi seemed to become more and more convinced that there may be something to the destiny that those Tibetan Buddhist practitioner friends of his father's had said that he was called to.  He described rather vivid and specific dremas that he was having regarding his uncle's life and fate at the hands of the Chinese communists.  At the end of the film, Yeshi does return (if for a visit) to Tibet as the religious figure that he seemed to be predestined to from birth.  Angain, fascinating!

Now I know that a fair number of Christians and even Catholics would be disturbed by a movie like this.  However, at least with regards to the Catholics, I would remind all, that the Catholic Church does see itself as a universal church, secure in its faith, and therefore capable of dialoging with respect with everybody.  The Second Vatican Council's declaration on non-Christian religions indeed said as much.

I personally have found it very easy to admire and respect the Buddhist religions which are generally presented peacefully and without great rancor.  And I also note the famous saying of Zen Buddhist master, D.T. Suzuki of the early 20th century, that Buddhism may focus "more on the Kitchen than the Cook" but that does not mean that it denies the Cook.  It simply means that Buddhism chooses not to focus on the Cook.  Focusing on the Cook is simply left to others, like us Christians and Catholics ;-).

And yes, over the last several generations we Cathoics and Christians too have come to appreciate more the beauty and value of the Cook's kitchen ;-).  Yes, if we choose, we can all come to live together with respect and in peace.


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Carnage [2011]

MPAA (R)  Roger Ebert (3 Stars)  Fr. Dennis (3 1/2 Stars)

IMDb Listing -
http://www.imdb.com/title/tt1692486/
Roger Ebert's Review - 
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120111/REVIEWS/120109982

Carnage (directed and screenplay co-written by Roman Polanski and Yasmina Reza) is an excellent screen adaptation of the play by Yasmina Reza named "The God of Carnage (orig. Le Dieu du Carnage) that has won all kinds of awards in Paris, New York and London.  The play was a hit a number of years ago here in Chicago as well.

Screen adaptations of stage plays are often quite easy to spot.  The set is generally relatively simple and the story is generally dialogue driven.  In the case of Carnage, pretty much the entire story takes place in the somewhat upscale Brooklyn side of the East River condo of one of the couples involved.  Thus it's "not quite Manhattan" but at least the condo's sort of facing it ;-).  Then, yes, the story is dialog driven, but what a dialog it is! ;-) and I do believe that ANY couple with a grade school age kid or two could relate to it ;-).

So what's the story about? The film takes place over the course of a single weekday mid-morning meeting between two sets of parents, Michael and Penelope Longstreet (played by John Reilly and Jodie Foster) and Alan and Nancy Cowan (played by Christoph Waltz and Kate Winslet).  The two couples' 11-year old boys had gotten into a fight a day or two before.  During the course of the fight, one of the boys picked up a stick and whacked the other boy in the face, breaking two of the other boy's teeth.  So this had been altercation between two relatively young boys. Yet it seemed certainly serious enough to warrant a meeting of this kind between the two boys' parents...

So the two couples meet.  One is apologetic, the other understanding, both couples straining really hard to do the right thing, be civil about it, and put the matter behind them.  Va bene.  It's just every time they are about to set things straight, resolve the matter like adults, say goodbye and put it behind them one or another of the four parents says something stupid that blows the "civilized agreement" up and the four have come back into the flat, sit down, and start all over again ... ;-)

As this starts to drag on, it becomes clear that though both couples live in this nice section of Brooklyn facing the River one of the couples is clearly wealthier than the other.  Further, it also becomes clear that the wife of the not quite as wealthy couple is either better educated (or thinks herself to be somewhat better educated) than her husband.   All four (as well as the audience) pick-up on these vibes and all four begin to jostle for position based on these perceptions:  Alliances shift back and forth from couple vs couple, to "the more educated" vs "the less educated," to the "actual breadwinners" vs "the intellectuals," the men vs the women and back again.

As this meeting of parents continues, the cell-phone of one of the four begins to ring -- work is calling -- and the person has to take the call.  Va bene.  But soon the cell-phone rings again, and then again...  Each time the cell phone rings the other three get more and more frustrated.  The eyes of the spouse start rolling ... and the other couple begins to feel increasingly put-upon (who do these people think that they are?).

Not to be outdone, the mother/mother-in-law of the other couple calls as well.  She's been at the doctor's that morning.  It had been a relatively unimportant appointment, but she wants to talk about it.  The couple has to say "Ma, we're in the midst of something here, can we call you back in 10 minutes?"  Ma reluctantly agrees but calls back 20 minutes later saying, "Are you done yet...?" ;-)

What middle-aged couple could not relate to this? ;-)  The whole movie is only an hour and twenty minutes long, covering the length of a would be meeting exactly like this.  What a film!  Does the matter get resolved?  I'm not going to tell you ;-).  Go and rent it ;-)

ADDENDUM -

As the readers here can tell, I really enjoyed this movie.  However, the film was made by the very contraversial director Roman Polanski whose life has been marked by his committing of a truly horrendous crime: he did first drug and then by definition rape a 13 year old girl.  To avoid prison, he fled the United States and has lived beyond the reach of U.S. justice in Switzerland ever since.  He's been obviously a very talented man but who committed a truly horrendous crime, a crime that the victim has _after much pain_ has since transcended and forgiven him for.  How should the public regard him now?

Wow, what a question?  I'll leave it to the reader here to sort this thing through noting all the factors above (1) Polanski's talent, (2) the horrendousness of his crime, (3) the victim's forgiveness of him, (4) the apparent sense of contrition on Polanski's part, though apparently not enough to go back to the United States and go to jail for it and (5) that yes both Christianiaty and _especially_ Catholicism has been about reconciliation and forgiveness though (6) the Catholic Church itself has been embroiled in recent decades with a list of similarly horrendous crimes against minors by a fair number of its clergy.  Again, what to do?

Perhaps the best course is exactly what society is apparently doing with regards to Polanski today: Allow him to make an occasional film, often very good (all four of the actors/actresses in this film should certainly be very proud of their performances here, as all four of the performances are certainly among the best of their careers), but also then note Polanski's past crime as well.


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Underworld: Awakening [2012]

MPAA (R) CNS/USCCB (A-III) AV Club (D-) Fr. Dennis (1 1/2 Stars)

IMDb  listing -
http://www.imdb.com/title/tt1496025/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv009.htm
AV Club review -
http://www.avclub.com/articles/underworld-awakening,68061/

Underworld: Awakening (directed by Måns Mårlind and Björn Stein, story by Len Wiseman who collaborated on the screenplay along with a host of others) is the fourth installment in the Underworld franchise featuring a seemingly unending battle between vampires and lycans (better known to us as werewolves). 

Now that vampires and werewolves do not like each other underpins also much of the Twilight series.  So a good question could be asked as to why they wouldn't like each other. Checking answers.yahoo.com and answers.com, it would seem that this "ancient rivalry" actually began with the Underworld Series.  So the rivalry appears to make for a "really cool" device much like that which created such cinematic "wonders" as the hyper violent Predator vs. Alien [2004] even though the first Underworld [2003] movie predates it (and certainly this movie Underworld Awakening is hyper-violent as well).

Yet in the box office these vampire vs werewolf movies (both Underworld and Twilight) do really, really well.  So the question of why that would be, why these movies/stories "work" (or other seeming strange or even stupid stories "work") fascinates me.

Part of it has to be in a fascination within apparently fairly large segments of the population with the vampire and werewolf archetypes.  Vampires seem to be about "unbridled, indeed consuming passion," enough so that a vampire wants or needs to suck blood out of its victims.  Werewolves seem to be about "the beast within."  Both vampire and werewolf stories appear to have been very popular during the Victorian era notable for its conformity (the opposite of what "the beast within" would want to do) and sexual repression (the opposite of "unbridled, indeed consuming passion").  

I wouldn't be able to prove it now (and honestly don't have a particularly great desire to pursue this) but I would imagine that a combination of the current societal "gender wars" (of which the Catholic Church is certainly an active party) as well as the "ick"/"yuck" factor associated with certain aspects of male homosexuality makes the vampire archetype somewhat relevant today.  After all, why would one want to drive one's ___ up someone's ___?  An "unbridled, indeed, consuming passion" perhaps ...

Then the wildman archetype has been postulated as being both around and necessary for healthy male spirituality since at least Robert Bly's book on Iron John.  I would submit that the wildman archetype celebrating "the beast within" is really not that far from the characteristics of the werewolf.

So between the struggle to make some kind of peace with the existence of a homosexual community in society's midst (a community which previously had to live in the shadows) as well as a need by many men often feeling emasculated by the demands of modern life to rediscover the freedom of their inner wildman perhaps make both the vampire and werewolf archetypes "near the surface" of today's collective subconscious.

Still why would these two archetypes want to fight each other?  I guess because it would make for a really cool series of visual images which if strung together long enough could even make for a really cool series of movies. ;-)

Besides put really really sexy "vampire" Selene (played by Kate Beckinsale) into a skin tight black rubber suit.  Then put a very large and shiny automatic pistol with a seemingly endless supply of werewolf (er lycan) killing "silver bullets" into her hands and wow with this "Jungian anima with a gun"... it all must make for "one heck of a rodeo" in the Jungian scheme of the subconsious.

So what's a parent to think if one's teenager starts to really like films like this?  I suppose look for signs of obsession and depression.  Yes, to be perpetually "in a dark mood" becomes a problem.  But recognize that probably 99 out of a 100 young males seeing this film are probably doing so because they like to see a really attractive young woman (in a tight black rubber suit) wasting a whole lot of monsters.

Yes, the violence is appalling.  I'm amazed that the CNS/USCCB gave this film merely an "A-III" (for adults) rating while the far less violent and certainly more coherent film Haywire also about a heroine with a gun an "L" rating (of limited value even for adults) but then the MPAA is often rather inconsistent as well.

Bottom line, I don't see any particular "need" for any minor to see this film.  I certainly wouldn't want to help or otherwise "enable" a minor to do so.  On the other hand, I wouldn't make a huge deal about it either, unless one's teen seems to remain in a "dark state" focused on "dark matters" for long periods of time.  Then I would be asking the teen with some regularity what's going on in his (or her) head...


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