I would love to say lots of things about Jeff Nichols’s Midnight Special, but saying almost anything beyond the basics would spoil too much. I caught a showing yesterday. I had high expectations, partly because Mud was such a well-done movie and partly because the only trailer that I saw for the sci-fi story of a young boy with powers (?) was its own kind of off-guard thrilling.
And so what can I say beyond “go and see it”? Well. It’s the story of a father and a son, of a mother and a friend. There’s a cult involved. It’s a chase movie that also has some hints of 80s sci-fi flicks (some see the movie as a kind of homage to 80s Spielberg). Adam Driver, aka Kylo Ren, plays a significant role in the movie. Put him behind a microphone and he sounds just like his Star Wars alter ego. It’s Michael Shannon, though, whose acting makes the movie. His character stands at the intersection of all the things that are bearing down on his son, from both without and within. There is also, I believe, a potentially beautiful picture for the kingdom of God to be found in the story, though it’s just slippery enough that it can’t quite be pinned-down. For all of its big ideas and concepts, it’s a simple and subtle movie. Some might accuse it of being vague, as the answers the movie gives are no where near as specific as we might be used to. The movie’s last twist leaves you feeling intrigued, intrigued instead of robbed. It’s a quality sci-fi flick, though, in the vein of both Looper and 10 Cloverfield Lane. It’s definitely a movie worth your time and money. Be sure to stay for the song that plays over the credits. It’s a nice move on the movie-maker’s part, as it adds a kind of interpretive twist to the story.
(image from variety.com)
One of the odd gifts of Tolkien’s Lord of the Rings is the way that it enchants the world for the reader . . . only to see that enchantment end as the story draws to a close. A compounded sense of loss, indeed. In the vein of Charles Taylor, James K. A. Smith argues that modernity has “flattened” and “disenchanted” the world. His argumentation in You Are What You Love is a kind of response to that . . . a suggestion of how Christians might go about “re-enchanting” the world.
The first move in James K. A. Smith’s argument in You Are What You Love is to help us understand that longing and desire play a key role in understanding why we do what we do. “Your love or desire– aimed at a vision of the good life that shapes how you see the world while also moving and motivating you– is operative on a largely nonconscious level. Your love is a kind of automaticity,” he asserts. You are more than just a thinking self. You are (primarily) and feeling and wanting self.
James K. A. Smith’s new book, You Are What You Love, drops today. It’s been available digitally for a couple of weeks, though. The book is a great read, accurately simplifying and building off of Smith’s thesis about “cultural liturgies” as found in Desiring the Kingdom. Smith builds his argument well, starting off with the assumption that we all long for things and that such longings are deeper than any intellectual assent that we might make. Consider:
I finally got around to seeing Zootopia over spring break. It had the best trailer of the movies showing before Star Wars- The Force Awakens, but it ended up low on my “need to see” movie list. I’m glad I saw it: it was colorful, creative, and even kind of challenging in its storytelling. I did find it a little heavy-handed ideologically, more so than most animated movies in the 21st century.



