X-Men: The Long Way Home

x trioIt’s unfortunate, really, that X-Men: Apocalypse is one of the lowest-reviewed X-Men movies.  On a number of levels, it’s the X-Men movie that many of us have been waiting for.  It might lack the gravitas of Days of Future Past and the cool sixties vibe of First Class, but it makes up for it by being an actual X-Men movie (and not just a Wolverine vehicle or the continuing adventures of the Pre-X-Men).

The movie picks up ten years after the events of DoFP.  Everyone has gotten on with things . . . things that many of them will lose by movie’s end.  Xavier’s school is doing well, all things considered.  In this movie, Scott Summers is our (ironic) set of fresh eyes on things.  As he-who-is-Apocalypse is awakened and gathers his four horsemen, we also see the core of the X-men start to gel (primarily Scott and Jean and Kurt).  The tension builds well.  Things that could easily be distractions end up adding some depth to the larger narrative.  And while those four horsemen might seem slighted in personalities and screen time, I think it’s to make room for more important (and relatable) dynamics.  Things are both fresh and fun with the core group of heroes (and once again, with Quicksilver in particular).  And while he definitely lacks the personality of the comic book version of himself, the movie version of Apocalypse is serviceable and not overly-distrating.  Visually, the movie is beautiful, with the best use of 3-D for a superhero movie in recent memory.

I do hope that people make their way to the theater to see X-Men: Apocalypse.  It’s no where near the train wreck that was X-Men: The Last Stand.  Even though the cast is large, there’s a good and necessary kind of restraint at work.  You really do get to meet familiar characters again for the first time.  The end of DoFP led us to believe that we would eventually get to a great place with Marvel’s most successful underdogs.  X-Men: Apocalypse is the first step in making good on that promise.

(image from io9.gizmodo.com)

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Grit and Bear It

I’m about halfway through Angela Duckworth’s Grit.  It’s not quite the kind of book that I’d normally read, really. David Brooks praised it in his column last week, though, so I thought I’d give it a shot.  It’s a good read: still a little too anecdotal for my taste, but I’m finding that her point-for-point analysis of the topic itself is really good (and quite helpful).  Here’s a brief video introducing the book.  Anything longer would give too much away.

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The Novel-ty of Andrew Osenga

Osenga PhotographsI remember well when I bought my first album from The Normals.  I remember reading about Coming to Life in CCM Magazine.  I remember making the connection in my head to the song “Everything (Apron Full of Stains)” from an earlier album.  I remember the trek to Mardel’s to see if they had a copy.  And I remember the time a friend at school let me borrow a pre-release copy of their third and final album, A Place Where You Belong.  I’ve tracked down most of the band frontman’s work.  I remember emailing him early in my time in Hawaii because I wanted to get digital copies of some songs I couldn’t find anywhere else (“The Longing” and “The Moral of the Story” and “The Phoenix”).  He graciously complied.  Andrew Osenga has been a part of the soundtrack of my life for a huge chunk, moving from The Normals to a solo slot and even to time spent in Caedmon’s Call.  So a kind of “retrospective” of Osenga’s work over at foundlinghouse.com is pretty cool.

One of the best things that the article brings out is the novel-ty nature of much of Osenga’s solo work.  Consider:

One could accurately say that Osenga’s writing grew up through years of musical experience. That tends to be the way of artistic endeavors, of course. People learn by doing. It might be better said, however, that his writing matured under the tutelage of Hemingway and Steinbeck. Osenga’s songs—and, in turn, his solo projects—often play out like novels, peopled with crooked or broken characters, worldly struggle, and otherworldly yearning. “The Priest and the Iron Rain,” off of his Souvenirs & Postcards EP, comes directly out of Hemingway’s A Farewell to Arms, and Osenga has cited Steinbeck’s The Pastures of Heaven as inspiration for “Early in the Morning,” an ode to his neighborhood that appeared online as an acoustic demo and then on his full-length record The Morning. Other, less prefigured creations emerge from the milieu of Osenga’s literate mind as well. There’s Kara, the girl from a small town in Indiana, and her album-mates: Stanley, the butcher; Frank, the washed-up Baptist pastor; and Michael Brown, the divorced professor. These are followed by an entire cast of desperate smiles in “Broadway Bartender.” After that come the “Farmer’s Wife” and the unrequited love of “Marilyn.”

It is distinctly the classic American novel that feels most present in Osenga’s back catalog. Our national schoolchild regimen of postwar requisites—essentially every author from the Lost Generation onward—hinges on protagonists and anti-heroes who hover on the brink of dystopia, longing for a paradise that was promised but has not come . . .

I must admit: I read The Pastures of Heaven because of Osenga’s opinion of it.  It’s the only Steinbeck novel beyond The Grapes of Wrath that I’ve finished.

The article, which can be found and read here, is a nice way of putting Osenga’s musical career in grateful perspective.  His solo career was key in helping me anchor my musical collection with the Square Peg Alliance, which gives me a kind of root and link to Tennessee.

Here’s Osenga singing “Kara” from back in 2008.  Cool seeing Andrews Peterson and Gullahorn playing and singing background vocals.

(image from tollbooth.org)

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Feed the Money Monster

money monster from hitfixFew things serve the break between comic book movies as well as a good financial thriller, right?

In between the shield-slinging of Captain America: Civil War and X-Men: Apocalypse neatly stands Money Monster.  It’s the latest in a short string of recent financial movies (the best being The Big Short).  And while it’s more thriller than commentary, it’s a movie that handles both kinds of moments well.

George Clooney plays Lee Gates, a tv personality whose overconfidence in a safe stock that ends up losing millions, is taken hostage by Kyle Budwell (played by Jack O’Connell), who lost all of his savings in the “glitch.”  Julia Roberts plays the show’s producer, who has to keep things from falling apart long enough for the mystery of the “glitch” to be solved.  The acting walks the line between muted (Roberts) and almost maniacal (O’Connell and Gates), but they find a steady, believable tone for most of the movie’s mid-section.

While I’m not sure how believable the scenario is in a general sense, I was totally invested the entire time.  Granted, I was approaching the movie from a few different perspectives (including gauging audience reaction).  There’s the angle of talking about a financial system that is fast and has little to do with actual cold, hard cash.  There’s the approach of seeing how a movie by Hollywood elites would handle a blue collar worker like Budwell (which has been a topic of some interest to conservative bloggers over the last week or so).  There’s the muted but percolating relational drama playing out between Gates and the many people (producer included) that he has burned as an over-bearing personality.  So yeah: lots of levels to think about.

What I liked best about the movie, though, is a stylistic device that almost always moves me: when the personal drama somehow becomes a public spectacle, or when the line between the imagined and the real gets blurred.  You get it best in movies like the original Muppet movie or in something like Moulin Rouge, where the audience witnesses a true thing thinking it is something else.  The scene where Gates and Budwell move from the studio to a meeting place a few blocks away encapsulates something right (and also sad) about our current state.  People reveal themselves by how they respond to what they think they are seeing.

Money Monster ultimately belongs in the same category of movie as Side Effects or Contagion: a little too close for comfort, a little too awkward to do much more than stick in the brain for a while, but a valiant effort nonetheless.  The solution to the “glitch” ultimately serves as a swerve from the deeper issues of our current financial system, which is unfortunate (and which is one of many reasons why The Big Short is the better movie).  The movie may be a stretch, but it’s one worth trying.

(image from hitfix.com)

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Returning to Wayward Pines

One of the highlights of last summer was Fox’s Wayward Pines.  The 10-episode run took what was (supposedly) the best of three books and turned them into an eery, chilling story of a man who wakes up very, very far from home.

While I wasn’t all that pleased with the final episode (it felt necessarily rushed), it did a great job of setting up a potential second season.  That season now begins May 25.  And while it looks like a bit of a rehash, I’m interested to see how they move the story forward (especially since readers of the book assert that season one used up all of the main plot points).

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Still Running (to Stand Still)

Came across this recently.  A great rendition of a U2 classic with the Edge carrying it all. A great song for a Monday morning.

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Bookshelf Addition Predictions

2016 has been a good year for reading.  These days I’m wrapping up N. D. Wilson’s Outlaws of Time and Hauerwas’s The Work of the Theology.  I’m also making good progress through Merton’s No Man is an Island (which I’ll blog about soon).  And it looks to get even better as we get closer to the mid-year mark.  Here are some books on the way that have my attention.

city of mirrorsI had no idea what I was getting myself into when I picked up Justin Cronin’s The Passage a few years ago.  It quickly became one of my favorite reading experiences (back when Aloha Tower and McDonald’s were part of my summer routine).  The Passage is one of those “first books in a trilogy” that could totally stand on its own.  While I enjoyed the sequel, The Twelve, it didn’t hold together quite as well as the original.  Now, after three years, the final book in the series is ready to drop.  I’m curious to see what happens in this world of vampires (not the kind of sentence that I often write) as it comes to a (hopeful) end in The City of Mirrors.  Blurbs for the book mention a final battle between Amy and Zero amidst a world trying to rebuild itself.  Should make for some great early summer reading.

Turns out that Dave Eggers has another “out of nowhere” book dropping in late July.  The book doesn’t have a cover yet, but it’s titled Heroes of the Frontier, which sounds both hopeful and challenging.  From the preview blurb:

Josie and her children’s father have split up, she’s been sued by a former patient and lost her dental practice, and she’s grieving the death of a young man senselessly killed. When her ex asks to take the children to meet his new fiancée’s family, Josie makes a run for it, figuring Alaska is about as far as she can get without a passport. Josie and her kids, Paul and Ana, rent a rattling old RV named the Chateau, and at first their trip feels like a vacation: They see bears and bison, they eat hot dogs cooked on a bonfire, and they spend nights parked along icy cold rivers in dark forests. But as they drive, pushed north by the ubiquitous wildfires, Josie is chased by enemies both real and imagined, past mistakes pursuing her tiny family, even to the very edge of civilization.

Jonathan Lethem has a new novel coming out in October.  While I’m a fan more of his non-fiction, I’ll probably give A Gambler’s Anatomy a shot.  As with The Fortress of Solitude, it seems to be a down-to-earth story with a (super-powered) twist.  It’s a slim 300 pages compared to what looks to be a 400-page Eggers tome.

moonglowThere for a while it seemed like Michael Chabon was everywhere (maybe it’s because I saw him in person twice in one week a few years ago).  Lately, though, he’s been silent.  That silence breaks with November’s Moonglow.  I really like the cover of the book, which is all about matches.  The book sounds like an odd mix of history and speculation rooted in Chabon’s family experience.  From the blurb:

Moonglow unfolds as the deathbed confession, made to his grandson, of a man the narrator refers to only as “my grandfather” . . . A gripping, poignant, tragicomic, scrupulously researched and wholly imaginary transcript of a life that spanned the dark heart of the twentieth century, Moonglow is also a tour de force of speculative history in which Chabon attempts to reconstruct the mysterious origins and fate of Chabon Scientific, Co., an authentic mail-order novelty company whose ads for scale models of human skeletons, combustion engines and space rockets were once a fixture in the back pages of Esquire, Popular Mechanics and Boy’s Life. Along the way Chabon devises and reveals, in bits and pieces whose hallucinatory intensity is matched only by their comic vigor and the radiant moonglow of his prose, a secret history of his own imagination.

In between Lethem and Chabon, though, there’s an opportunity for some good theological reflection in N. T. Wright’s latest work on Jesus and the church in context.  Titled The Day the Revolution Began, the book copy blurb lays out the general argument:

In The Day the Revolution Began, N. T. Wright once again challenges commonly held Christian beliefs as he did in his acclaimed Surprised by Hope. Demonstrating the rigorous intellect and breathtaking knowledge that have long defined his work, Wright argues that Jesus’ death on the cross was not only to absolve us of our sins; it was actually the beginning of a revolution commissioning the Christian faithful to a new vocation—a royal priesthood responsible for restoring and reconciling all of God’s creation.

Wright argues that Jesus’ crucifixion must be understood within the much larger story of God’s purposes to bring heaven and earth together. The Day the Revolution Began offers a grand picture of Jesus’ sacrifice and its full significance for the Christian faith, inspiring believers with a renewed sense of mission, purpose, and hope, and reminding them of the crucial role the Christian faith must play in protecting and shaping the future of the world.

I’m sure other books will creep onto the shelf throughout the year, but these are definitely some “tentpole” releases to keep things moving throughout 2016.

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What Bubbles Up

At this point in the story, I think I’ve linked to almost every short video for James K. A Smith’s You Are What You Love. Here’s one more, though.  This one is about vocation.  It’s a nice teaser for some of Smith’s great thinking in the book.

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Three Souls Well

Here’s a treat from three amazing artists: “It Is Well With my Soul” with more vocals than anything else. Three minutes and forty-two seconds well-spent.

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In the Shadow of the Day

I was helping a friend get his car to the shop earlier this week.  While driving around the west part of town, this song came on the radio.  I was glad the window was down and the breeze was cool.  It’s a song with a great, steady beat that also has a great (air) guitar solo and a challenging but solid vocal track.  Difficult to believe Linkin Park’s “Shadow of the Day” is almost ten years old.

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