Miracles from Heaven [2016]

MPAA (PG)  CNS/USCCB (A-II)   RogerEbert.com (3 Stars)  Fr. Dennis (3 3/4 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
RogerEbert.com (C. Lemire) review

People Magazine (D. Atlas) article about making of film 


Miracles from Heaven [2016] (directed by Patricia Riggen, adaptation by Randy Brown based on the memoir [GR] [WCat] [Amzn] by Christy Beam [GR] [WCat] [Amzn] [IMDb]) is BY FAR the BEST RELIGIOUS BASED OFFERING to come out in theaters in the United States this Lent. 

The book / film tell the story of Annabel Beam (played in the film by Kylie Rogers), the 9 year old middle daughter of Christy and Kevin Beam (played in film by Jennifer Garner and Martin Henderson), Annabel's two sisters being 12-13 y.o. Abbie and 6 y.o Adelynn (played by Brighton Sharbino and Courtney Fansler).  The acting of all of them is truly of top-quality.

At eight, Annabel quite suddenly had fallen ill with pseudo-obstruction motility disorder, an extremely rare illness in which the nerves that tell the intestine to push food down itself stop firing properly thereby making it impossible for food to digest properly and causing de facto obstructions of undigested food in the intestinal tract.  Due to the rarity of the incidence of this illness, the doctors at the local hospitals (in and around Dallas, TX outside of which the family lived) initially didn't understand what was happening to Annabel.  So they kept misdiagnosing her incessant vomiting / inability to keep food down, to more common (if perhaps particularly manifestations of) conditions like lactose intolerance and/or acid reflux disorder.  Eventually, the doctors figured out what was going on with Annabel.  However, due to the rarity of the disorder, the acknowledged expert on this disorder was a Dr. Nurko (played by Eugenio Derbez) who practiced out of Boston Children's Hospital nearly 1000 miles away. 

So the family had to figure out a way to get their sick child to Boston, first for once every six weeks visits and later (as she was _not_ getting better) for increasingly extended periods there.  The family portrayed lived on a small ranch, so it was _not_ poor.  However, any adult watching the film would _quickly appreciate_ the mounting and eventually back-breaking expenses involved.

Since this was a family story, some of the _best scenes_ involve the children, notably:

(1) When the family still believed that Annabel could be suffering for some sort of extreme case of lactose intolerance, older sister Abbie volunteered to not eat pizza anymore in solidarity with Annabel.  Mom and dad quickly followed suit.  Poor six year old Adelynn WHO HAD JUST STARTED TO KNOW / AND _REALLY LIKE_ PIZZA initially didn't really want to go along.  "Why mommy?  It's good." (and couldn't slightly older sis Annabel just eat something else ;-).  But eventually, she reluctantly "went along" AND ONE JUST WANTED TO CRY.  _I_ honestly can't imagine childhood here _without pizza_.  Yes, it's such "a small thing" but _also_ such a big one as well.

(2) After dad took a second job to help pay for mom's and Annabel's stays / travel expenses in Boston, he forgot one time to take older daughtr Abbie to some soccer exposition (involving apparently several members of the U.S. National Women's team passing through Dallas).  Yes, on one level it may seem "trivial" but to a 13 year old _with her own dreams_ it mattered.  Again, ONE JUST WANTS TO CRY.

Eventually with Annabel NOT getting better and herself _getting tired of being sick and getting worse_ the decision is made to just bring her back home to Dallas (for a de facto hospice like situation).  It's then when she had that incident with the tree -- falling 30 feet down from said tree, hitting her head and "not dying, not becoming paralyzed but instead (quite miraculously or "miraculously" DOESN'T MATTER) becoming healed" -- those nerves to her intestines that were misfiring SUDDENLY started firing correctly again.

Yes, she had an out-of-body / near-death experience in which she said she met God who told her that she'll be fine from now but that she needed to go back.  Again, Viewers can interpret this however they want, STILL, REMEMBER, SHE GOT BETTER... after that _crazy_ fall.

And the film is actually _extremely_ good in acknowledging the obvious: Many, many kids / other people SUFFERING TERRIBLY _DON'T_ GET BETTER.

But the message here is OF HOPE -- that LIFE DOES NOT END HERE ... that there is a vivid paradise that awaits us on the other side, and that ABOVE ALL THAT WE ARE NOT ALONE, that God _does care_ and is indeed with us and is there, on other side, awaiting us.

 It's just a very, very nice and hopeful film and a story that deserves to be shared.

GOOD JOB!


ADDENDUM -

The _only_ reason why I am not giving this film a four star rating is on account of a single scene involving Queen Latifah, who plays a Boston area waitress named Angela.  In the film, Angela befriends Annabel and mom Christy and offers to show the two around her beloved Boston with a personal tour.  Christy first did not want to accept the offer but on insistence of Annabel agreed.  Christy becomes more skeptical when Angela comes to pick them up in a _really broken down car_with all sorts of stuff in the back seat, etc. 

I FOUND THAT SCENE UNFORTUNATE for the same reason as I found similar scenes in another nominally Christian film called War Room [2015] unfortunate.

Even though in the case here, Queen Latifah herself (a fairly known / powerful actress) clearly chose to play the car scene the way it played, I SIMPLY CAN'T BELIEVE THAT A WHITE ACTRESS WOULD ALLOW HERSELF TO BE PORTRAYED IN SUCH A SLOPPY WAY. 

A _lot of white viewers_ (nominally Christian or non) will view that car scene and see it as confirming stereotypes of African Americans as somehow being "less clean" than white people. 

AND I CAN ABSOLUTELY ATTEST THAT THIS IS SIMPLY _NOT_ THE CASE.  I HAVE KNOWN BOTH AFRICAN AMERICANS AND HAITIANS AS WELL AS JAMAICANS whose dress, houses and cars are EVER in _immaculate order_, while there are plenty of whites who are slobs.

 I don't want to belabor the point except to say that I found that scene _unfortunate_ and that is the reason why I did not give the film a four star rating, which I otherwise would have given it.


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Wondrous Boccaccio (orig. Boccaccio Maraviglioso) [2015]

MPAA (UR would be PG-13)  Fr. Dennis (4+ Stars)

IMDb listing
FilmTV.it listing*

aVoir-aLire (F. Mignard) review*
ComingSoon.it (D. Catelli) review*
The Hollywood Review (D. Young) review


Wondrous Boccaccio (orig. Boccaccio Maraviglioso) [2015] [IMDb] [FT.it]*(screenplay cowritten and codirected by Paulo Taviani [IMDb] [FT.it] and Vittorio Taviani [IMDb] [FT.it]) is a wonderful SCREEN ADAPTATION / ITALIAN PERIOD PIECE that played recently at the 19th (2016) Chicago European Union Film Festival held at the Gene Siskel Film Center here in Chicago.

Set in and around Florence during the time of the Black Plague, it's based on the stories of late-medieval / early Renaissance Florentine writer/poet Giovanni Boccaccio's (1310-1375) [wikip] [GR] [WCat] [Amzn] Decameron [wikip] [GR] [WCat] [Amzn].  Indeed, as in Boccaccio's original work, ten orphaned young people, expelled from the city (because members of their families had already died of the plague and they were thought to be contagious), pass the fortnight of their quarantine by getting together to tell stories.  No iPhones, no TV, the "mass media" of the time were simply "the stories" they knew, made-up and told ;-) ...

But what stories were ;-) ... Honestly, since these were YOUNG PEOPLE (in their mid to late teens to early twenties) LIVING THROUGH THE BLACK PLAGUE during THE LATE MIDDLE AGES ... call their stories Goeffrey Chaucer (of Canterbury Tales [wikip] [GR] [WCat] [Amzn] [IMDb] fame) meets The Walking Dead [2010-] ;-)

The first story, told by one of the young women of the group, involved two young people of the time, madly in love.  Then she falls ill.  He's away, by the time she comes back, she's dead.  He finds her laid out in front of the altar of the country church.  No one else is there (everybody else seems to have been afraid that she was contagious and that they would die as well).  But HE came there, HE'S not afraid. SHE was HIS GREAT LOVE.  HE kisses her, and ... Sleeping Beauty-like (only this was BEFORE the "Sleeping Beauty" fairy tale had even come to be), SHE WAKES UP.  He takes her off the altar and the two go home.  NOW GOOD READERS, MIND YOU ... SHE WAS DEAD.  Now she's ALIVE (again).  SHE SCARES THE DAYLIGHTS OUT OF THE VILLAGERS.  One even, quaking with fear asks her: "What part of HELL did you come back from?"  She smiles, looks at him and answers: "I didn't come back from Hell, I descended back down from Heaven..."  And thus ended the story, told by an orphaned teenager expelled from her hometown (Florence) because her family was dead and the town feared that she was still contagious ...

Then there's a story (told by another one of the young women) of a strapping young nobleman (nobile) -- seriously, he looked like he could play the lead role in any number of Shakespeare's plays -- who's confronted by the mother of his child, demanding that he finally CHOOSE BETWEEN HER and his ... (PET) FALCON ;-) ;-) _ever_ on his shoulder ... ;-).  LMAO ;-)  ... "the toys" may change, but the story remains the same ;-).  And it proves _really, really hard_ for the "young nobile" to "let go" ... The falcon, who knows how this is going to end, looks so _sadly_ at him, and the young nobile tells his beloved ... falcon: "Oh PLEASE don't look at me like that" ("No guardame cosí!") ...

Finally, there's also a story told by one of the young men, about a young cloistered nun "from a convent nearby," who, well, falls in love "with the gardener" ;-)

This is SUCH A FUN MOVIE ... if one can get past the pesky subtitles (or gasp, learn another language, in this case, Italian  ;-).  And it's a wonderful reminder to all of us that young people are young people across all space and time ;-)

JUST A GREAT, GREAT FILM ! 


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Simshar [2014]

MPAA (UR would be R)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CinEuropa.org listing

CinEuropa.org (S. Kues) review
Malta Today (T. Reljic) review

Huffington Post (D. Kmiec) review
Cinephilia.net.au (S. Hurst) review
The Austrialian (D. Stratton) review


Simshar [2014] [IMDb]] [CEu] (directed and cowritten by Rebecca Cremona [IMDb] [CEu] along with David Grech [IMDb] [CEu]) is a MALTESE DRAMA that played at the 19th (2016) Chicago European Union Film Festival held at the Gene Siskel Film Center here in Chicago.  About an actual tragedy involving a random and very typical Maltese fishing family, it also plays-out in the context of the current refugee drama in which tens of thousands of migrants are fleeing North Africa often in quite poor / leaky boats for Europe.

This film became Malta's first ever submission to the (87th) Academy Awards for Best Foreign Language Film and is available in U.S. for streaming at a reasonable price on Amazon Instant Video.

To the story ...

On July 7, 2008, Simon Bugeda (played in the film by Lotfi Abdelli [IMDb] [CEu] left Malta with his quite typical if not entirely "up to code" fishing vessel, to do what he did for a living ... catch fish, notably tuna.  Aboard were his father Karmenu (played by Jimi Busuttil [IMDb] [CEu], his 11 year old son Theo (played by Adrian Farrugia [IMDb]) as well as Somali migrant (played by Sékouba Doucouré [IMDb] [CEu]).  

Typical of the "less than completely above board" nature of small-time commercial fishing, they took the boat apparently as far as Libyan waters.  Was that unusual?  One gets the sense, not particularly.  But it did cause them problems: When their "not completely up to code" small-time commercial fishing boat came to have a fire and then gasoline explosion on board, they weren't necessarily where the Maltese coast guard would first be looking for them.

Readers note here that part of the story of a somewhat similar tragedy, that of the Andrea Gale, remembered in the book / film The Perfect Storm [2000][IMDb] [GR] was that in that case that the crew took their Gloucester, MA commercial fishing vessel _far past_ their usual fishing grounds - at the Grand Banks to the Flemish Cap  - which proved to be a tragic decision as they found themselves in the midst of one of the worst storms in North Atlantic History on their way home, and also quite far from the (in their case) North American shore.

Back to the current story here ...  As the little if supremely poignant family tragedy played-out, a larger continuing tragedy continued as well, that of the North African Migrants fleeing North Africa for Europe, which are shown to occupy the attention (and frustrations) of both the Maltese and Italian Coast Guards.   And it becomes clear that though the surviving members of the Simshar were spotted by other (Libyan) fishing boats as they drifted, holding on to debris, from the Simshar's wreck ... THEY WERE NOT RESCUED BY THEM because they were taken to be "simply" North African refugees ... and presumably those fishermen thought that if they "stopped to rescue every North African refugee in such distress" they would not have time to do their living.  After all, they were "fishermen" not "the coast guard."

Sigh ... the result became what one would imagine.  It all becomes one _sad_ / conscience raising tale ... And one which would certainly be appreciated by the communities in the United States (and all around the world) which also make their lives by fishing.

A quite excellent film!


* Foreign language webpages are most easily translated using Google's Chrome Browser. 

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Family Member (orig. Μέλος Οικογενείας / Melos Oikoyenias) [2015]

MPAA (UR would be PG-13)  Fr. Dennis (3 Stars)

IMDb listing
AltCine.com listing
CinEuropa.org listing

TheReviewer.eu (D. Floros) review*
Parathyro.com (M. Moyséos) review*

Family Member (orig. Μέλος Οικογενείας / Melos Oikoyenias) [2015] [IMDb] [AC] [CEu] (written and directed by Marinos Kartikkis [IMDb] [AC] [CEu]) is a FAMILY DRAMEDY from CYPRUS that recently played at the 19th (2016) Chicago European Union Film Festival held at the Gene Siskel Film Center here in Chicago.

Set in the context of the continuing European Economic Crisis, Yorgos and Sophia (played respectively by Christopher Greco [IMDb] [AC] and Yiola Klitou [IMDb] [AC]) would seem to be a typical 40-something married Cypriot couple, middle class, with two children, teenage Anna (played by Ntora Makrigianni [IMDb] [AC]) and 10 y/o Christos (played by Ioannis Melekis [IMDb]), and run a family neighborhood grocery store in one or another Cypriot town, presumably suburban Nicosia.  Living with them is also Sophia's father (played by Glafkos Georgiades [AC])

A typical middle class Cypriot family that they are, they find themselves in enormous debt.  Why?  There is no money.  Their customers routinely come to their store and plead to buy on credit, and the two, Yorgos especially, simply can't bring themselves to tell them no.  Why? Because their customers are not buying inessentials, they're basically things that they need to live on.  And all promise essentially the same thing -- "money is going to come."  When?  No one really knows, but one gets the impression that the whole economy is operating on a system of IOUs.  The problem is that while this can work on a neighborhood level where everyone knows each other, but one can't pay for water or Electricity with IOUs.

SO, when Sophia's father dies in his sleep one night, he just doesn't wake-up one morning, Sophia realizes that it was his pension that kept the roof over their heads.  What to do?  Remember this is a movie ... hence something of a "thought experiment" - where fictionalized people could be allowed to do what real people could not do (or would not do because of the obvious risk / issues involved) but perhaps (in their darker moments) at least "thought about."

SO ... Sophia comes up with a somewhat desperate scheme:  Yorgos and her would _respectfully_ take Sophia's father's body IN THE DEAD OF NIGHT ;-) "back to village" and bury him _respectfully_ (again IN THE DEAD OF NIGHT) in the family plot - where his wife, Sophia's mother is also buried - in the Christian cemetery (again, they'd _want to be respectful_ about it) BUT ... they would NOT DECLARE IT ANYWHERE ... so they could continue to accept Sophia's father's social security checks.

And they do so ... take Sophia's father's body, wrapped in a couple of thick plastic garbage bag, and with a couple shovels working, in the dead of night, they successful bury Sophia's father's body in their family plot "back in the village" without anyone apparently knowing the wiser.

BUT ... inevitable problems arise.  Sophia's father would get a social security check THAT HE'D HAVE TO GO TO THE NEIGHBORHOOD BANK TO CASH.  But he's dead.  Well, at least with the first check, Sophia figures that since "everybody knows them" the bank would cash at least that first check with his signature but without him present because she'd present it to the bank-manager with the excuse: "My dad's down with the flu, can you just do us the favor?" if anyone should ask. 

And it seems to work.  But already Yorgos asks, what are we going to do the next time?  Yet, a few days afterwards, the two get a phone call at the grocery store from the Social Security office that they'd like to come over to their house to speak to Sophia's dad.  Ay ... what now?

Well, they "get lucky" ... the following day, in the afternoon, an elderly man shows up at the store, and while they weren't looking, he tries to shoplift a few items.  Yorgos catches him.  The man, supremely embarrassed pleads that he'll just give back the two cans of sardines if they just not report him.

Yorgos would actually just give him the two cans of sardines, but Sophia, looking at him ... he even looked kinda like her father (and is played at minimum by Glafkos Georgiades's [AC] brother Fivos Georgiades [IMDb]) only with a mustache ... decides to ask him a favor ...

The rest of the story, with various twists ensues ...

It's a comedy so it has to end well, but it's also a story that _hopefully_ would discourage real people from doing the same.   It's just too hard and morally taxing to try to pull this off for real.

As such, an interesting and often quite (darkly) fun film about something that the vast majority of us would never ever do.


* Foreign language webpages are most easily translated using Google's Chrome Browser. 

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10 Cloverfield Lane [2016]

MPAA (PG-13)  CNS/USCCB (A-III)  ChicagoTribune (3 Stars)  RogerEbert.com (3 Stars)  AVClub (B)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (K. Jensen) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (B. Tallerico) review
AVClub (AA. Dowd) review  

10 Cloverfield Lane [2016] (directed by Dan Trachtenberg, story and screenplay cowritten by Josh Campbell and Matthew Stuecken along with Damien Chazelle) is a suspenseful and thoroughly  minimalist (in its own way) offshoot to the wildly successful "found footage" b-scifi/horror film Cloverfield [2008] though the connection with the first film appears to have been solely that the two films' stories play out concurrently though in widely different parts of the country: the original film plays-out in New York City while the current film plays-out simply "somewhere in Louisiana."

This current film begins with a twenty-something young woman, we later find-out her name's Michelle (played by Mary Elizabeth Winstead), packing a suitcase with some of her things from her and her soon-to-be ex's apartment, throwing it into her car and leaving.

We catch her next driving in her car on some country road somewhere and it's getting dark.  She notices a message on her iPhone, begins listening to it -- it's her boyfriend pleading that she come home, to give them a chance to "work" (whatever it it is) "out -- there's some reference on the radio to "power black-outs" occurring along the Eastern Seaboard, and BANG ... SOMETHING JUST SMASHES INTO THE SIDE OF HER CAR, hurling it off the road, AND ... the opening credits _begin_ to roll ... ;-) ;-)

She wakes up, with an IV in her arm, and ... quite impressively thick CHAIN AROUND HER THIGH in some BUNKER somewhere.  We soon find out that this bunker was built by some ex-Navy man, since survivalist nutjob, named Howard (played absolutely wonderfully, cards ever, ever, ever close to the vest, by John Goodman) who informs her that "outside" there was "an attack" by "maybe the Russians, maybe Extraterrestrials ..." but in any case, the air's contaminated and they are going to be "stuck" for ... oh, maybe A YEAR OR TWO ... in said bunker until the air clears up and/or HE figures-out what to do (next).  In any case though, FORTUNATELY he's "made provision" for EXACTLY THIS KIND OF SCENARIO, with FOOD FOR TWO (maybe three) for EXACTLY "ONE or TWO YEARS."

Wow ... how creepy ... and the bulk of the rest of the film involves her and a third person --an "Emmett" (played by John Gallagher, Jr), a "local" twenty-something "contractor" who had helped Howard build this bunker on Howard's farm somewhere in (presumably) Louisiana and who apparently ran straight for the bunker when "whatever happened outside" began "happening" -- trying to figure-out JUST HOW CRAZY "Howard" was.   

It was clear that Howard did not want any of them to go outside, for ... apparently "the duration" of whatever "event" was taking place.  But Michelle NEVER SAW said "event" playing-out, outside.  And all SHE gets is tantalizing, if admittedly frightening indications that SOMETHING AWFUL really did take place, the strongest of which being a woman who seemed to have chemical burns on her skin, and coming to said bunker begs to come in. 

Okay, Howard, wasn't completely nuts, _something_ quite awful really did happen outside, but he clearly wasn't _sane_ either.

What would YOU do if YOU found yourself in this "Room [2015]"-like circumstance (with PERHAPS "Aleins" or "something ELSE that was AWFUL" outside)?

The rest of the story ensues ... ;-)

It's a crazy, improbable, claustrophobic story and clearly "not for everybody" but IMHO it works in a paranoid "what would you do?" sort of way.  At least TBTG this "sequel of sorts" has chosen to take a different path to tell its story _without_ resorting to the tired "lost footage" of the original.

Good job ;-).


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Forbidden Films (orig. Verbotene Filme) [2014]

MPAA (UR)  Fr. Dennis (3 1/2 Stars)

IMDb listing

Jerusalem Post [H. Brown] review
Critic.de [M. Lahde] review*
EPD-film.de [R. Worschech] review*
FilmGazette.de [D. Kuhlbrodt] review*

NPR.org (M. Jenkins) review
NY Times (N.Rapold) review
Slant Magazine (O. Ivanov) review
The Hollywood Reporter (F. Scheck) review
The New Yorker (R. Brody) review


Forbidden Films (orig. Verbotene Filme) [2014] (written and directed by Felix Moeller) is a quite thought / discussion provoking GERMAN DOCUMENTARY about the 40 Nazi era films that are banned to this day from normal public viewing in Germany (of 1200 made during the Nazi era and 300 of which were banned initially by the Allies after the War).  The film played recently at the 19th (2016) Chicago European Union Film Festival held at the Gene Siskel Film Center here in Chicago.

At issue were films that were openly anti-Semitic, anti-Polish, anti-British, pro-Euthanasia and so forth.  The concern has been that these films could confuse an un(der)educated populace into believing the flagrant propaganda present in them.  And at least one example of this was given where a contemporary German viewer after the screening (for this film) of the German Nazi-Era wartime movie The Homecoming (orig. Heimkehr) [1941] dramatizing the purported discrimination suffered by ethnic Germans in Poland before the War left the film declaring that "Germany was right to invade Poland" (the immediate action which started WW II ...).

Sigh ... but that was _not_ a particularly common response.  Indeed, Israeli audiences of viciously  anti-Semitic films (among those 40 Nazi Era films banned in Germany) like Jud Süß [1940] and The Eternal Jew (orig. Der Ewige Jude) [1940] found the films _laughable_ and at least one audience member suggested that they should be made _required viewing_ for Israeli school-children so that they would better understand what both the Holocaust and the post-War founding of the modern state of Israel were about.

The documentary also noted that many of the films initially banned by the Allies after the War were subsequently "denazified' by literally "painting over" / "cutting out" the overt scenes with Swastikas or with Adolf Hitler, etc.  However, as Felix Moeller, the director of the documentary, appeared to be something of a "purist," this alternative was portrayed as violating or even "butchering" the integrity of the original films.


I came to this film with perspective of someone of Czech descent, hence from a family which knew well both 6 years of Nazi occupation and 41 years of subsequent Communist domination and I would insist that many of the same questions / issues raised in the current film could be raised with regards to films made in the Soviet Union during the Soviet Era (70+ years - 1918-1991) and in the Soviet Bloc during the Cold War (40+ years - 1945 or so - 1989).

Indeed, deciding what to do with films made during various epochs during those Communist years have _not_ been "idle questions" for _any_ of the countries / successor countries involved:

Following Stalin's death, during the de-Stalinization period in the Soviet bloc, classic (often still propaganda) films had Stalin erased from them in various ways.

And many of the Communist Era films are also _laughable_ today.  Cossacks of the Kuban (orig. Kubanskie kazaki) [1950] is a particularly appalling "inversion of reality" Soviet Era propaganda film, especially since the Kuban Cossacks were absolutely _decimated_ by Stalin's forced collectivization campaign in the 1920s and then most of the remaining ones were wiped-out for collaborating (for tragic if _obvious_ reasons) with the Nazis during the Caucasus / Stalingrad campaign in 1942.  Stalin's regime could have left the dead Cossacks be, accused as they had been of being (1) Supporters of the Czar, then (2) Counter Revolutionaries, then (3) Kulaks ("rich" land owners) and finally (4) Collaborators with the Nazis.  Instead, perversely after killing the vast, vast majority of them, Stalin's regime still "found the need" to show them _smiling_ "happily working" on the collective farms of their home/traditional region.

But even less appalling Communist Era films suffered from obvious ideological constraints.  And pretty much _anyone_ from the former Soviet bloc could _almost effortlessly_ (with the "back of one's hand") point-out the ideology that lurked within and limited _every single film_ that was made in those countries during those years.  (And analogously one could similarly identify the obvious ideological limits present in Iranian cinema today).

What's perhaps interesting in the context of the current film about the Nazi Era films still banned in Germany today, is that almost all of the post-Communist states have chosen to let the films from their Communist pasts remain available ... if _perhaps_ still "De-Stalinized."

Why?  Obviously for various reasons, some not particularly good -- It's more or less obvious, for example, that Vladimir Putin is seeking to run Russia today in a manner of "Stalin light," hence his regime does not find his nation's Communist and even Stalinist legacies particularly embarrassing.  Imagining the rise of a similar situation in Germany _could_ concern viewers of the current film here.

However, (1) MOST OF THE POST-COMMUNIST STATES of the former Soviet bloc, _don't_ feel particularly threatened by the Communist past as the films of that time are obviously dated (as are all films of the past) and the ideological constraints present are _pretty much obvious_ to all viewers from those countries; and (2) as was brought out in Mueller's film here about the Nazi Era films but EVEN MORE TRUE IN THE CASE OF THE COMMUNIST ERA CINEMAS OF THE FORMER SOVIET BLOC COUNTRIES, _it's really hard to talk about the artists, film-makers, actors of the time_ WITHOUT reference to their films.

The Nazi Era thankfully lasted for "only 12 years."  In contrast, the Communist Era in Soviet Russa lasted for 70+ years and in the rest of the Soviet Bloc for 40+ years, hence FOR GENERATIONS.  Indeed, it'd be IMPOSSIBLE for a Russian viewer TO WATCH ANYTHING RUSSIAN without WATCHING AT LEAST SOME SOVIET-ERA FILMS.  After all, THERE WAS NOTHING ELSE MADE IN RUSSIA for _most_ of the history of cinema.

And as is always the case, DESPITE IDEOLOGY, a fair number of films made under ANY CONTEXT / REGIME are GOING TO BE GOOD, POPULAR AND MEMORABLE and FOR GOOD REASON ... they would be high quality products made by talented professionals. 

So how then to end here?  I'd say that director Mueller makes a quite compelling case here to at least DISCUSS the virtue / value of releasing (in Germany, they're already available elsewhere anyway) these 40 Nazi Era films which have been banned there to this day.

And I would tend to support releasing them if _perhaps_ with a simple label -- NAZI (to allow potential viewers to immediately understand that they were made during the Nazi Era).  I think that would MORE THAN ENOUGH for most people, even in Germany (discussed in this film), to immediately put these films in context.

And I agree with that Israeli viewer -- one need only to let every schoolchild in Israel to see a few of those films and one would never ever have to fear them again.  THEY themselves (informed by their parents / grandparents) would be more than capable to both soberly and devastatingly refute any ideology present within them.

As for the lunatic fringe?  There will always be loonies who'll tattoo swastikas to their foreheads, for any number of reasons, no matter what the rest of us do.  But we don't have to compromise our values (or fear the value of our Truth) on account of them.

Fascinating / thought provoking film!


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Zootopia [2016]

MPAA (PG)  CNS/USCCB (A-II)  ChicagoTribune (3 Stars)  RogerEbert.com (3 Stars)  AVClub (B)  Fr. Dennis (2 1/2 Stars)

IMDb listing
CNS/USCCB (J. McAleer) review
ChicagoTribune (K. Walsh) review
RogerEbert.com (M. Zoller Seitz) review
AVClub (J. Hassenger) review  

Zootopia [2016] (directed by Byron Howard, Rich Moore and Jared Bush, screenplay Jared Bush and Phil Johnston, all of whom contributed to the story along with Jennifer Lee, Josie Trinidad, Jim Reardon and Dan Fogelman) is a quite good (if still imperfect) children's animated film about a metropolis inhabited by all kinds of mammals (though apparently iguanas, parakeets and bumble bees -- and more to the point, snakes, buzzards and roaches -- still need not apply ...) where said mammals (formerly predators and prey) have learned to live together in peace.

Yes, there are still some prejudices in the countryside where foxes and rabbits still don't really trust each other / get along.  and (it turns out) that some of these prejudices still lurk somewhat beneath the surface even in the city.  

But the basic thrust of the film is clear -- can one (especially children) imagine a world where even  the Lion (voiced by J.K. Simmons), he's the city's mayor, and the Sheep (voiced by Jenny Slate) his assistant / running mate, can work together (cf  Is. 11:6)?  Or a rabbit Judy Hopps (voiced by Jinnifer Goodwin) Zootopia's first rabbit to make it through the Police Academy to become a cop, come to work with street-"hustling" fox named Nick Wilde (voiced by Jason Bateman)?

And to the story's credit, the film-makers show us that it's not easy: Judy's lovely simple "carrot farming parents" (voiced by Don Lake and Bonnie Hunt) give Judy a can of mace-like "Fox Away" to "protect her" as she goes off to the "wild city" where she could find herself in all kinds of "danger."

And quite surprisingly a good part latter part of the film is driven by the consequences of an _inadvertent comment_ at a press conference by the otherwise happy / bubbling / optimistic Judy (remember she was a cop on a case...), where she clumsily suggests that "deep down, predators may be _biologically_ predisposed to violence" throwing the whole balance / peace of the city into chaos -- as all the city's sheep, rabbits, deer, chipmunks, gazelles, etc suddenly become newly frightened "of all the predators" in their midst.

Anyway, it's a generally fun story.  I just wish that a few non-mammals were added to the mix because in a country like ours, the message still could be mixed -- basically still allowing Viewers to leave the film with the interpretation: "Okay, white people from the non Anglo/Germanic sections of Europe are (now) okay ("we" basically hold that now ...) , but people of color still may not be ("okay") ... especially when they have customs like wearing head scarves (or turbans), grew-up liking Cumbia / Merengue or Tejano / Mariachi music or celebrate Kwanzaa, Divali or Ramadan."

Unfortunately, in a country such as ours today, we simply have to underline that inclusion means _everybody_ because otherwise there will always be people looking to keep at least one or another group "on the bubble" / "nervous" or "out" ...


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