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Body Language: Lessons From ‘Spider-Man 3’

Posted by pinrobot123 on May 18, 2007

I took my two older boys to see “Spider-Man 3” this past weekend. Watching all that jam-packed action had the same effect on them as would a 2-liter bottle of Coke. After their “sugar high” subsided and they could actually speak, we had some great father-son chats about the movie’s many moral lessons.

I’ve been milking the moral lessons from “Spider-Man 2” for almost three years now. Doc Oc, the eight-armed super villain from that installment, was an image of the passions gone wild. When our passions are out of control, humanity—as the movie memorably demonstrated—is on a train bound for destruction. Only Spider-Man, there a Christ-figure sacrificing himself in cruciform, can save us.

Now with the release of Spidey 3, I’ve got lots of new material to draw from with my kids. It’s a multi-layered morality tale. One of the main questions this movie addresses is, “What do we do with the hurt we feel when other people cause us pain?”

“Revenge,” Aunt May tells Peter, “is like a poison. Before you know it, it can turn you into something ugly.” And it does. When the man who murdered Peter’s uncle escapes from prison, Peter chooses revenge and Spidey’s alter ego emerges, overtaken by black-alien-parasitic goo. These nasty symbiotes, Peter learns from his college professor, bind to their host, and “when they bind they can be hard to unbind.”

It is very rare to see lust portrayed as something evil in a Hollywood movie. But here, Peter Parker’s lusty prance down Main Street is a clear indication that he is no longer “your friendly neighborhood Spider-Man.” His respect for women has gone out the window. Peter only wises up when he sees how he has wounded his beloved Mary Jane. “I hurt her, Aunt May. I don’t know what to do.”

“You start by doing the hardest thing,” she says. “You forgive yourself.”

Peter, in a fit of merciless rage, had already told a fellow photographer who had cheated him out of a job at the Daily Bugle, “You want forgiveness? Get religion.” It was a sign of things to come. Where does Peter go to do battle with that diabolic goop that had overtaken him? To a church—a Catholic church. The cross atop the spire offers Spidey—and the audience—hope. In a grand image of what battling with sin often feels like, Parker breaks free from his oppression with the help of the victorious tones of the church bell. In the next scene, we see Peter washed clean in a (baptismal) shower.

From then on, Peter learns how to forgive himself—and others. For three movies now we’ve been feeling Peter’s rage toward his uncle’s murderer.

Note: If you don’t want to know the ending of the movie, stop reading now. At the end of this installment, having tried unsuccessfully to avenge his uncle’s death earlier in the movie, Peter faces his uncle’s killer.

The killer tries to excuse himself, “I had no choice,” he insists. Peter calmly replies, “We always have a choice.” Then, as the murderer confesses what happened that fateful night, Peter shows compassion and utters those liberating words, “I forgive you.”

The movie ends with this bit of wisdom: “Whatever comes our way, whatever battle, we always have a choice. It’s our choices that make us who we are, and we can always choose what’s right.”

When others have hurt us, we can always choose forgiveness. As the Catechism of the Catholic Church teaches: “It is not in our power not to feel or to forget an offense; but the heart that offers itself to the Holy Spirit turns injury into compassion and purifies the memory in transforming the hurt into intercession” (CCC 2843).

In its own way, this is the message of “Spider-Man 3”: Hurt can be transformed into something positive. Forgiveness is the only path that brings true resolution to our pain. The alternative is to be possessed by the black, parasitic goo of bitterness and revenge. It’s our choice.

Christopher West, a research fellow and faculty member of the Theology of the Body Institute, has lectured at St. John Vianney Seminary in Denver, the John Paul II Institute in Melbourne, Australia, and Creighton University’s Institute for Priestly Formation in Omaha.

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‘28 Weeks Later’ spills guts, leaves mess for audience

Posted by pinrobot123 on May 17, 2007

MOVIEREVIEW
28 Weeks Later
2.5 stars

If you like blood, chances are you will enjoy the latest summer horror flick “28 Weeks Later.”

Like its surprise cult-hit predecessor “28 Days Later,” the sequel certainly packs a punch with its wild zombie chases and prolific blood-spewing.

Seven months after the first installment’s conclusion, Tammy (Imogen Poots) and her 12-year-old brother reunite with their father (Robert Carlyle) in a quarantined section of London, which was built after a virus devastated the city in the preceding film.

But this supposed safe zone is not immune to the infection as they had hoped. The gruesome events that unfold mirror the bloodfest which made “28 Days Later” so successful.

Unfortunately, the narrative is not quite as infectious as the first film.

Ninety nine minutes just isn’t enough time to develop literally half-a-dozen story lines, especially when the majority of the film is an elaborate chase scene which looks like a HALO tournament.

The film even utilizes the first-person shooter perspective common to popular video games.

While this allows audience members to feel the action, the camera work can be as nauseating as a scene from “The Blair Witch Project.”

Compound this jerkiness with images of Londoners puking blood and biting into each other’s flesh, and viewers are likely to experience something like airsickness except without a vomit bag attached to the seat back.

This dizzying effect extends into the various plots which director Juan Carlos Fresnadillo attempts to weave together.

He disjointedly rips the audience from one story line to another and melds them abruptly, ultimately harming the conclusion of the film.

As a result, the audience has no sympathy for the characters’ victories or their failings.

When a virus sweeps through an underground bunker, the Londoners are infected in a matter of seconds, and the audience has no time to process the magnitude of the event.

But the shock factor alone affords moviegoers an opportunity to scream and then laugh at themselves for actually screaming in a public venue.

The action is constantly moving, and there’s a lot of it, but there’s more focus on the chase itself than what’s chasing the central characters.

In this respect, “28 Weeks Later” succeeds as the typical gory, startling and suspenseful horror film.

Yet the sequence of events is all too predictable, especially for fans of the first film who might expect something new in the sequel.

However, for fans of films which hinge themselves on their ability to scare you silly, “28 Weeks Later” will not disappoint.

But make sure to bring a few barf bags.

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UNIVERSAL PICTURES PRESENTS THE WORLD PREMIERE OF KNOCKED UP

Posted by pinrobot123 on May 17, 2007

AT MANN’S VILLAGE WESTWOOD LOS ANGELES, CA MONDAY, MAY 21,
2007 WHAT: The world premiere of the comedy KNOCKED UP WHO: KNOCKED UP writer/director/producer Judd Apatow; cast member/executive producer Seth Rogen; cast members Katherine Heigl, Paul Rudd, Leslie Mann, Jay Baruchel, Jonah Hill, Jason Segel, Martin Starr, Joanna Kerns, Charlyne Yi, Ken Jeong, Adam Scott and B.J. Novak; producers Shauna Robertson and Clayton Townsend; executive producer Evan Goldberg Plus celebrity guests including Sacha Baron Cohen, Gary Cole, Will Ferrell, Angela Kinsey, Jane Lynch, Romany Malco, Jeremy Piven and many more. WHERE: Mann’s Village Westwood 961 Broxton Avenue Los Angeles, CA WHEN: Monday, May 21, 2007 5:30 PM Press Call Time 6:30 PM Celebrity Arrivals 7:30 PM Screening Begins Knocked Up arrives in theaters nationwide on Friday, June 1, 2007. (Logo: http://www.newscom.com/cgi-bin/prnh/20060316/LATH064LOGO ) Photo: NewsCom: http://www.newscom.com/cgi-bin/prnh/20060316/LATH064LOGO
AP Archive: http://photoarchive.ap.org/
PRN Photo Desk, photodesk@prnewswire.com

Source: Universal Pictures

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