Reverend's Reviews: Faithful & True

I spent six years in a Roman Catholic seminary in the early 1990's and was pleased to find it surprisingly tolerant of the more homosexually-inclined among us. We were expected to embrace celibacy and live chastely, but we could otherwise be quite openly gay. That has sadly changed more recently in the wake of the Vatican's 2005 ban on openly-gay men entering seminary and, presumably, the priesthood. Good luck with that!

While the new DVDrelease The Seminarian (available now from Breaking Glass Pictures' QC Cinema) is set in a Protestant educational environment, much of it reminded me of my own seminary experience. The attendant struggle between spiritual ideals and worldly desires -- i.e. "the spirit" and "the flesh" -- is explored respectfully (though not without some nudity and non-graphic gay sex) by talented young filmmaker Joshua Lim, who is the product of a conservative Christian university that partly inspired his latest work.

"It's really hard to pinpoint where the story came from," Lim told me during a recent phone conversation. "It's very instinctive, but it basically came from a group of friends who I met with for dinner once a week" while he was a student at Southern California's Fuller University & Theological Seminary. Lim wasn't on a ministry track, electing to study the arts instead, but was essentially surrounded by ministry-minded students.

The Seminarian similarly centers its revealing plot on Ryan (The Big Gay Musical's Mark Cirillo), a gay but closeted student in his final semester of studies. Self-aware but understandably conflicted at times, Ryan is hardly alone. He has two close gay friends at the seminary: Anthony (Javier Montoya), who has an on again-off again relationship with another male student, and Gerald (Matthew Hannon), who harbors an initially-unspoken crush on Ryan. All of them are compelled to keep such inclinations secret from their predominantly heterosexual classmates, who tend to interpret scripture literally and are therefore far from accepting of homosexuality.

"It was very much 'Don't ask, Don't tell' at Fuller regarding homosexuality," Lim said. While his movie is reality-based but not autobiographical, Lim uses it and Ryan's thesis on "The Divine Gift of Love" to intelligently explore a question that has long dogged theologians: "How can love be a gift from God when it causes so much pain?" For Ryan, a first-hand lesson in this paradox comes via his relationship with a troubled man, Bradley (Eric Parker Bingham), whom he meets through the Internet.

Lim, who hails originally from Singapore, was surprised to learn that the most generous contributors toward his budget for The Seminarian were supporters of California's anti-gay marriage Proposition 8. One such donor, though, told Lim that they were interested in the dialogue they thought his film would inspire. The finished project got a generally positive reaction from film festival audiences but Lim reported some were unhappy with its mix of Christianity and homosexuality. Curiously, The Seminarian was accepted into more mainstream than GLBT fests.

"I couldn't make it too theological or people would fall asleep," according to Lim, "but I did want to make a serious film." Indeed, while not without some humorously observant lines and moments, The Seminarian is a serious piece of work. I admire the reflective pace and visual style Lim employs. The camera lingers on settings, faces and bodies longer than most movies. Director of Photography Lawson Deming is one to watch for his stately, color-saturated work here.

While the cast member's performances aren't the most professional, everyone gets props for their honest, heartfelt approach to their characters and Lim's screenplay. Of course, any contemporary movie that strives to illustrate how "love is an action that reflects the divine" is likely to get kudos in my book. Spiritually-adventurous viewers, gay and straight, should definitely check The Seminarian out.

Former Jesuit priest John J. McNeill is known for being the first openly gay Catholic priest (he came out on the Today show in the 1970's, during one of Tom Brokaw's first interviews on the program) as well as the author of several bestselling books on the topic of GLBT people's role in the Church. The documentary Taking a Chance on God, which will be making film festival rounds this year, is a remarkable expose of McNeill's unusual upbringing, his life-changing time as a prisoner of war during World War II, and his eventual emergence as a global spokesman for the full inclusion of GLBT persons in religious life. McNeill became so influential that his views were ultimately condemned by the Vatican and he was forced out of the Jesuits. Of course, as one observer states in the film, "The Vatican wanting to shut him up really opened his mouth." Watch for it.

Another noteworthy, religious-minded documentary now out on DVDcourtesy of First Run Features is Monsenor: The Last Journey of Oscar Romero. Romero served as the archbishop of San Salvador in the 1970's and spoke out forcefully on behalf of the poor and disenfranchised against El Salvador's corrupt government. He was subsequently assassinated in 1980 while celebrating Mass. Raul Julia memorably brought the martyr to life in the 1989 film Romero, but Monsenor uses never-before-seen archival footage and audio recordings to present a truly first-hand account of Romero's last three years. It makes for great viewing during Holy Week (April 1st-8th this year) or any other time.

Reverend's Ratings:
The Seminarian: B
Taking a Chance on God: A-
Monsenor: The Last Journey of Oscar Romero: B+

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and Rage Monthly Magazine.

Reverend's Report: The Battle Over Bully

Bullying among children and teens, especially of those who are GLBTQ, has been a hot topic in recent years. The discussion has gotten even more heated recently thanks to a new documentary, appropriately titled Bully. It opens in Los Angeles, New York and other major cities this Friday.

Bully explores the plights of five of the estimated 13 million students in the US who are harassed by their classmates each year because of their sexual orientation, gender, race and/or physical appearance. The film gives painful yet inspiring voice to these bullied kids and their families, so much so that its distributor, The Weinstein Company, was planning to arrange screenings of Bully in middle schools and high schools across the country.

This noble plan was thwarted last month, however, when the Motion Picture Association of America (MPAA) slapped the documentary with an "R" (Restricted) rating, thereby limiting its viewership to those ages 17 and over unless accompanied by an adult. The MPAA felt compelled to do so because of one sequence where profanity, including repeated use of the "F-word", is hatefully spewed by a bully. There is no sex, nudity, graphic violence or pervasive profanity in the rest of the movie but that one scene was enough for the MPAA to give its second-most restrictive classification.

The Weinstein Company and the MPAA have squared off over ratings before. Last year's Oscar-winning historical drama The King's Speech was similarly rated "R" for one scene in which its subject, King George VI (played by Colin Firth), lets loose with a string of expletives in an effort to overcome his crippling stutter. The studio later re-edited the film to garner a "PG-13" rating in order to allow it to be shown in schools. This time, though, The Weinstein Company challenged the MPAA's initial rating of Bully, arguing that the sequence in question necessarily shows the ugliness of a standard bully's attitude.

Big-name celebrities including Meryl Streep, Johnny Depp, Ellen DeGeneres, Anderson Cooper and Justin Bieber voiced their support in overturning the "R" rating, as have GLBT advocacy groups such as the Human Rights Campaign, Lambda Legal and Change.org. Nearly 500,000 people signed an online petition started by a Michigan teenager, Katy Butler, who revealed she herself had been bullied, and a growing number of Democrat and Republican members of Congress were at press time calling for the MPAA to overhaul its antiquated ratings system.

A March screening of Bully in Washington DC that was arranged to help defuse controversy over the "R" rating only added more fuel to the fire. At the event, MPAA President (and former US Senator) Christopher Dodd stated "I don't want the ratings issue to step all over what (director Lee Hirsch) has created." The award-winning Hirsch, who was present, quickly fired back: "The "R" is stepping all over it; that's the problem." Subsequently, California state Representative Linda T. Sanchez told the press, "This is a movie that's all about protecting kids, and the fact that (the MPAA) would offer a rating that won't let kids see it seems really counterintuitive."

Criticism of the MPAA for both its mysterious methods and secret membership has been growing in recent years. The 2006 documentary This Film Is Not Yet Rated incisively detailed the organization's double standards in how it rates movies, including the way GLBT-themed and independent films are typically deemed to have less merit than mainstream productions. Bully, which is independently produced and deals with GLBT themes, could legitimately be the latest victim of the MPAA's time-honored application of these double standards. The unprecedented, widespread uproar over Bully might be able to provoke actual reform of the ratings system where past efforts to do so have failed.

Meanwhile, despite an MPAA appeal panel's re-evaluation of the rating given Bully, the film's "R" rating was upheld. Dodd responded, "I'm stuck; If we change the ruling in this case, I'll have ten other filmmakers lined up saying they shouldn't be given the "R", and who are we to say why this film should be different than the others?" The Weinstein Company, clearly milking the ratings controversy for all its worth in terms of publicity, ultimately announced yesterday that it would release Bully without a rating. This is ordinarily the kiss of death for films in wide release, since most theater chains won't show movies without an MPAA rating. However, Weinstein secured a pledge in advance from the nation's largest exhibitor, AMC, to play Bully without MPAA approval.

Having seen the film, I can attest that the "R" rating is excessive and that this great, eye-opening movie should be seen by students as well as (most especially) by their parents and teachers. But will it be a hit at the almighty box office? Only time will tell. In the meantime, the bullying goes on.

For more information about Bully and where it is being shown, visit the film's official website.

Reverend's Rating: A-

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and Rage Monthly Magazine.

Reel Thoughts: Let the Games Begin

Despite being the third series of young adult books hoping to become the next big thing after the Twilight and Harry Potter films, The Hunger Games is a whole new kind of thrill ride. Director Gary Ross (Pleasantville) faced a huge hurdle in bringing Susan Collins’ bestselling novels to the screen, namely how to depict a bloody free-for-all where twenty-four kids ages 12-18 fight each other to the death for their freedom and still earn the film a PG-13. He does a masterful job overall, and The Hunger Games turns out to be the rare heavily-hyped film that earns its hype.

The film is set in a future where the government has become a fascist oppressor over twelve districts, all of whom must sacrifice two of their young people to a wildly popular televised event called the Hunger Games each year. All of the people in the districts toil away in impoverished conditions to supply the decadent Capitol with food, minerals and other staples. The Hunger Games were conceived as a way to remind the rebellious districts of the government’s supremacy, but now in its seventy-fourth year, the event is seen as entertainment as much as a symbol.

When eight year-old Primrose Everdeen is chosen in the lottery, her older sister Katniss (Jennifer Lawrence, in an even bigger star-making performance than her Oscar-nominated performance in Winter’s Bone) volunteers, joining Peeta Mellark (Josh Hutcherson from The Kids Are All Right) and becoming an instant fan favorite going into the battle. Woody Harrelson is funny and poignant as Haymitch Abernathy, Peeta and Katniss’ drunken mentor, and Elizabeth Banks is unrecognizable but hilarious as spokeswoman Effie Trinket.

Once Peeta and Katniss reach the Capitol, they are treated like exalted American Idol finalists, feted and paraded on TV in stylist-approved outfits meant to boost their audience approval ratings. Some of the other “Tributes” (as the government insists they be called) have been bred and trained since birth for the games, putting Katniss and Peeta at a disadvantage against bloodthirsty rivals like Cato (Alexander Ludwig), Glimmer (Leven Rambin from All My Children) and Clove (Isabelle Fuhrman, the creepy girl in Orphan). Wes Bentley and Stanley Tucci are perfect as Seneca Crane the Gamemaker and Caesar Flickerman, the Hunger Games’ version of Ryan Seacrest, with a cobalt blue Samurai hairdo.

While Ross depends too much on the shaky handicam to avoid showing too much bloodshed, the production values are spectacular, creating a completely engrossing new world you can’t get enough of. The fact that only one “Tribute” can survive the Hunger Games gives the film a suspense and urgency that raises it miles above the Twilight movies. The casting is perfect and the ending will satisfy audiences while making them eager for the inevitable sequels, Catching Fire and Mockingjay.

Reel Thoughts Rating: A-

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reverend's Reviews: John Carter of Palm Springs?

Much ink has been spilled in recent weeks over Disney's sci-fi epic John Carter. Seemingly pre-ordained to be a box office flop (the Hollywood Reporter has termed the film's perceived failure "a debacle"), it cost a reported $250 million and has to date grossed less than a fifth of that in the US. However, the movie has raked in nearly $200 million overseas, so the death knells do seem premature to me.

Inspired by a century-old, pre-Tarzan series of stories by Edgar Rice Burroughs, John Carter is over-produced but handsomely so. Relative newcomer Taylor Kitsch is fine as the hunky title character, an anti-social Civil War veteran who one day finds himself transported to Mars courtesy of a mystical amulet. On the Red Planet, he is quickly caught up in political intrigue involving warring tribes, a history-manipulating and shape-shifting trio of psychic baddies, and a beautiful Martian princess (played by Lynn Collins, who is so lovely she could almost turn me straight). Carter, who is amusingly referred to as "Virginia" for most of the movie by aliens who mistake his home state for his name, also discovers that he has been endowed with super strength thanks to Mars' gravity.

The film's otherworldly desert vistas, which were primarily shot in Utah, and barely pronounceable creature names have reminded some of 1984's big-budget disaster Dune. John Carter's battle scenes are also reminiscent of several in the Star Wars saga. One ought to be mindful, though, that Star Wars, Dune, Flash Gordon and their ilk owe more to Burroughs' preexisting stories than today's generation of moviegoers (and, apparently, critics) realizes. I have a feeling John Carter would have at least opened more strongly if Disney's marketing team had played up the source material as the grand-daddy of modern fantasy spectacles.

Much of the blame for the film's alleged failure has been unfairly laid on director Andrew Stanton. While his inexperience with live action shows at times in the movie's uneven pacing and confusing fight sequences, Stanton (who previously directed Pixar's monster hits Finding Nemo and WALL-E) is no slouch when it comes to storytelling. Unlike his previous works, John Carter is overlong and too violent for young children, but it isn't lacking in marvelous special effects, occasional magic and general entertainment value. I'll take it over Star Wars: Episode I - The Phantom Menace any day.

A new DVD release transports viewers to an even stranger environ than Mars: Palm Springs, California. The gay mecca plays host to the latest entry in Q. Allan Brocka's seemingly never-ending Eating Out series. Eating Out: The Open Weekend is out todayfrom Ariztical Entertainment.

After an initially obvious but ultimately very funny opening set at a row of bathroom urinals, we follow regulars Zack (Chris Salvatore, who has blossomed into a very appealing actor and sings on the film's soundtrack too), Benji (Aaron Milo) and Casey (the always cute Daniel Skelton) to the Triangle Inn & Resort. As one character describes it, "Picture the entire Manhunt website stuffed into one hotel." Strip tennis, sarong parties and a Harry Potter wand-shaped vibrator ("Time for some Quidditch!") figure into the hijinks.

Some new faces help elevate the now-routine crossed wires and mistaken identities that define the Eating Out movies. Casey hooks up with a hot "pretend boyfriend" played by the easily lovable Michael Vara, and Lilach Mendelovich makes an amusing "hag in training" who also happens to be a virgin. Additionally, trans actress Harmony Santana (Gun Hill Road) reprises her role from the previous film in the series as the hilariously bitchy Lilly. Throw in some political satire in the form of a one-hour window when same-sex weddings will be legal again in California thanks to a newly discovered "Liberace Loophole," and Eating Out: The Open Weekend makes for a pleasant if familiar romp.

Reverend's Ratings:
John Carter: B
Eating Out: The Open Weekend: C+

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.