The Runner from Ravenshead

Writer: Joel and Lisa Steege
Director: Joel Steege
Composer: Dane Walker
Year: 2010

The Runner from Ravenshead is an adventurous family produced film about how giving it to Him is better than giving up. It is an allegorical story in which kids represent grown-ups (in some cases) and in which a prison represents the bondages we find ourselves in when we don’t cast them on the Savior. Wardens steadily and relentlessly pursue the fleeing victims, who only wear out and wind up back in prison. We follow the progress of a girl named Sam as she tries to make her escape. The subject matter of this film is one I can’t say I’ve seen dealt with much, let alone in a film.

This is much more than you’d expect from someone’s first independent Christian film! Particularly when the cast is completely children! The Steeges really outdid themselves on this project. There was a lot of thought put into the various aspects…more than we can see on the surface, that’s for sure. Good continuity, great cinematography and and editing. Things were, for the most part, surprisingly well lit. Which is especially not easy in a shadowy forest.

The cast was apparently no more than 5 children, although there are more characters. Don’t expect the same actor/actress to be the same character. Sometimes there are even more than 5 people in the frame, so I’m thinking there must have been a good deal of green screen and frame blending going on.

I’m a believer that kids can be the best talent, if directed well. Something about the imaginations they have. I think they are able to become the character easier. By the fact that these children (and any children) lack the experience and training of an adult professional, means they need to get the inspiration for the role from something else.

There are numerous humorous (like my rhyme?) moments in the film. Funny stunts, comic expressions, and children's antics; it will at the very least get an occasional chuckle out of you. Or if you're like my sister, you'll laugh the whole thing through!

The score hardly gives one a moment’s reprieve. It’s says action, suspense, and grandeur in the first five minutes and doesn’t let off. The music was recorded live with an orchestra, which is not easy to do on a tight budget, believe me. There must have been some committed and talented folks behind that one.

I liked the costumes! I thought they were fun and thoughtfully put together! Kind of like the days of dress-up we did as kids. But they were still natural (cept maybe the facial hair O.o).

Well done Steege family!

(I could critique various things in this film, but anyone can do that).

Signs

Writer: M. Night Shyamalan
Director: M. Night Shyamalan
Director of Photography: Tak Fujimoto
Composer: James Newton Howard
Editor: Barbara Tulliver
Lead Actor: Mel Gibson
Year: 2002

“Signs” perhaps best showcases writer/director M. Night Shyamalan’s unique blend of sci-fi and real life. While there might be aliens or monsters, they are put in a very tangible setting. While the film might be marketed as a “thriller”, it has a deep level of heart. Night asks the question, “If something like this were to happen, how would people react?”

The film may start off a little slow, with guys running around corn fields and what not, but give it a chance. A crop circle shows up in the Hess family’s corn field in Philadelphia. This is strange enough, until people are finding these strange “signs” all around the world. Theories arise as to what the cause is. The adults are not so foolish as to believe extra-terrestrials are in fact the ones responsible, but the children fearfully entertain the possibility.

Surprisingly Christian themes arise in the midst of this disturbing tale. We learn that Graham Hess (Gibson’s character), has recently lost his wife in a tragic accident. This has caused the once devout “Father Graham” to loose his faith. He has decided that no one is watching out for them and that everything that happens in life is only coincidence. During this trying experience with an eminent attack from aliens, he hits rock bottom (quite literally). But there in his basement, he ultimately succumbs to the inevitable fact that there is a God.

Through the events following, things happen that cannot be merely coincidence. The only explanation is that someone is watching out for them. We watch as Graham Hess regains his faith through a simple and artistically executed sequence at the end of the movie.

Let’s just say Mel Gibson is a master. His rustic side gives his scenes a real punch. His face is able to contort into any emotion imaginable. A very unique scene with the family around the dinner table is a good example of the kinds of emotions fighting to be realized. In some ways, that scene is a climax; a clash of stress, bitterness, love, and…food. The timing is great, as are the expressions and dialog.

Joaquin Phoenix, who plays Mel’s younger brother, once again acts with a transparent quality, making his character both vulnerable and real. I thought the little boy was too scripted and Rory didn’t really know how to deal with it. Rory did do especially well with his emotional scenes and his asthma attack. Abigail Breslin is pretty cute.

There is a very special thing that James Newton Howard does with the score in Signs. Much of the music is built around a repeating three notes. This little motif has many moods. It is played during the scariest moments and then adapted for the moments of great relief. This musical touch, I thought worked quite well. Although I am aware that if I get the soundtrack, I won’t get much more than those three notes. Which seem rather to have been played by the scenes, than to be played for them. Played by the dark and by the light; whichever is dominating at the moment.

Night doesn’t like to use CGI, which I think adds to the sense of reality in his films. At times things may seem low budget in their simplicity. Then there are other things that Night doesn’t like to do. Yes, like any controlling perfectionist, he has a little ego. For instance, he thinks cuts are often used by filmmakers to cover things up, so he uses them as little as possible. I’m not sure if the practice always aids his work, although it does force him and his actors to be precise with the takes, the care of which I think show in his work. It's growing on me.

Hollywood on Fire

Through interviews with several professionals and authorities as well as narration, this insightful documentary dynamically tells the history of Christians in Hollywood. A fascinating history and a history I was very unfamiliar with.

It talks about the good, the bad and the ugly of the film industry, particularly that of Hollywood. It’s a hungry giant that continually is asking for more, whether it’s in the form of recognition, fashion, or money. We see in the documentary, how some found that products that were feeding people’s flesh sold well. A quote by Benjamin Franklin is put on the screen (I’m not sure how I never heard it); “He that is of the opinion money will do everything may well be suspected of doing everything for money.” That is just one of the things that threaten to snuff the fragile, flickering flame of those trying to hold onto their faith and values.

The industry apparently went bad after the church, for whatever reason, retreated from it. Maybe Christians felt like they were getting being mistreated. Maybe they felt it was getting too hard. But are Christians bothered by the lack of morals in film? Do Christians want wholesome entertainment? Do they want their views to be reflected in the media? Well guess what? Then they have to make it!! Interestingly, the rise and fall of crime directly followed the rise and fall of corruption in media. It’s a mission field. And thankfully, there are many (although not enough) who are making a difference for the good.

"That the arts can be corrupt does not mean that Christians should abandon them. On the contrary, the corruption of the arts means that Christians dare not abandon them any longer." –Gene Edward Veith.

Me with the brothers who directed "Hollywood on Fire".

The Luzhin Defense

Writer: Peter Berry

Director: Marleen Gorris
Director of Photography: Bernard Lutic
Composer: Alexandre Desplat
Editor: Michiel Reichwein
Lead Actors: John Turturro, Emily Watson
Year: 2000

The Luzhin Defense is a beautifully filmed and acted period piece. The film’s screenplay is loosely based on Vladimir Nabokov’s book, “The Defense”. It is the story of a man so absorbed in his game he, in some ways, lost grasp of real life. This left him with an eccentric disposition and a queer way of communicating and relating to others. The match that could leave him with the world championship was the climax of his pursuit. This tournament not only brought him in front of the goal, but also face to face with what his life meant.

The man, Aleksandr Ivanovich (Luzhin) played exceptionally well by John Turturro, was indeed an odd fellow, but at times in a charming kind of way. Certainly this strangeness was one of the major factors for which Natalia fell for him. She was attracted to him despite the intense disapproval of her mother, who clearly missed whatever it was her daughter saw. Natalia liked the idea of marrying a genius, but had her work cut out for her as she would need to expand her love’s exclusive world.

Then Aleksandr’s old chess ‘tutor’ shows up, who seems to have some queer motivations for getting back involved. This man is intent on seeing the outcome of the tournament, which is beginning to weigh heavily both physically and emotionally on the master. Not for the least of reasons is Natalia’s pressure to lay the obsession aside. Poor Aleksandr is being pulled from both arms, the pressure of which causes major ill-affects. It seems the defense Luzhin chooses is to resign.

Interspersed throughout the film were glimpses into John’s childhood, which seemed to be hard for others and thus hard for him. His obsession with chess caused the exclusion of other things. His childhood, as it is with all of us, seemed to shape who the man was. I didn’t always catch the things that were meant to add continuity to the flashbacks (perhaps I’m not as trained at noticing those things), so things seemed a bit choppy to me when we went to see John as a child. But really didn’t bother me or take me out of the film.

I am very familiar with Alexadre Desplat’s music, but hadn’t heard any of it paired with a film, so that was one of the reasons The Luzhin Defense interested me. Once again, the French maestro composes a delightful score. There are moments full of calculated energy, dark and brooding moments, and tense ones. And of course, we wouldn’t have a Desplat score without a waltz.

The locations in the film were wonderful. The outdoor ones especially as we see the Italian lake settings and the hotel grounds that held the tournament. It all suited the film well, without getting too glamorous to cloud the intimate heart the story has.

The love story ends with a crash and crashes to an end. But picks up where it left off in a great, dramatic way. Although the end is heartbreaking, I don’t think one would be entirely disappointed by the finish.