By Cinema Dave

http://cinemadave.livejournal.com

This Sunday evening at 7 p.m. the ABC Broadcast Network will televise The Ten Commandments, a rare movie tradition that has aired most Passover/Easter Sundays since 1973. The exception was 1999 in which television executives decreed that if people wanted to watch this movie, they could pick it up on VHS. Apparently, the telephone switchboard lit up, upset that a family tradition was torn asunder.

Released on the big screen in 1956, The Ten Commandments marked Director Cecil B. DeMille’s last motion picture and was the box office champion for the year. While the dialogue and acting styles has dated through the years, there is much visual splendor to hold one’s interest. Based on the first five books of the Old Testament, The Ten Commandments does have a pretty good story to tell, which might explain the film’s enduring holiday appeal.

It has been 13 years since Mel Gibson released The Passion of the Christ, which still holds multiple box office records. Despite the controversy, this film revealed a faith-based audience willing to purchase movie tickets. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and Rocky Balboa included the faith-based audience in their marketing mix and were rewarded by good box office.

In recent years, the Christian consumer has supported contemporary faith-based movies like Miracles from Heaven, 90 Minutes in Heaven and Heaven is for Real. Of the three films mentioned, Heaven is for Real holds up best as a family drama with international intrigue that bookends this fine motion picture written and directed by Randall Wallace, who earned a best screenplay Oscar for Braveheart, which was directed by Mel Gibson.

Based on a true story, The Case for Christ is this year’s faith-based motion picture. Set in Chicago circa 1980, atheist journalist Lee Strobel (Mike Vogel) has dinner with his pregnant wife, Leslie (Erika Christensen) and their daughter, Alison. When Alison chokes on a giant gumball, the Strobels panic, but a kindly nurse, Alfie Davis (L. Scott Caldwell) performs a routine Heimlich Maneuver and saves the girl.

When Alfie praises Jesus, Leslie is impressed, but Lee is annoyed. While raising Alison and birthing another child, Leslie comes to accept the tenets of Christian faith. While performing earning a living as a crime reporter for the Chicago Tribune, Lee wants to write an article revealing Christianity as a con job worthy of P.T. Barnum.

Compared to the recent contemporary Christian movies of recent years, The Case for Christ is much more of a dry and somber movie. The film does explore the shifting values of the Baby Boomer Generation with that of traditional faith. When The Case for Christ concludes, one is left with many open-ended questions to draw one’s own personal conclusions.

Happy Passover and Happy Easter weekend!

The flight deck door flung open. A crazed man towered in the entryway wielding a knife at the throat of a helpless flight attendant. Training took over as I swung around while unholstering my service weapon, took aim and stopped the threat.

“Good shots,” declared my firearms instructor. “Care to know where you hit?”

I lowered my weapon. It had the same look and feel as a real firearm only, instead of using live rounds, the pistol was equipped with a muzzle-mounted laser which, upon trigger pull, sends an invisible pulse of light from the barrel to the target. A large computer simulation screen, located behind the mock flight deck, detected each of my shots with realistic ballistic accuracy. Everything about the scenario felt real; but, it was only training; it was pretend.

Honestly, I had no recollection of how many shots I fired before pausing to reassess the threat. I was stupefied that, while only a simulation experience, my brain had jettisoned the memory of the number of trigger pulls. I was at the mercy of my training — rote. Much to my satisfaction, having been coached by some of the best federal firearms instructors in the nation, I learned the only casualty was the simulated perp. I had reacted as desired, going through the motions that I’d been taught.

To this day, the power of pretend continues to amaze me. It’s probably why I love movies. The motion picture industry has long leveraged the concept of “suspension of disbelief” allowing the viewer to become immersed in stories absent of reality. They know it’s pretend; but, in the moment, like my simulation experience, it’s real.

Yet, a paradox exists. While pretend is necessary, it has crept into our faith. God, speaking to the people of Judah in Isaiah 29:13, said, “These people say they are mine. They honor me with their lips, but their hearts are far from me. And their worship of me is nothing but man-made rules learned by rote.” In short: Going through the motions — pretending.

While we cerebrally understand that true worship permeates from our full dependency on God, we give “lip service” when we pretend to have it all together, that we are healthy apart from Christ. In Brothers, We Are Not Professionals, author John Piper says, “The difference between Uncle Sam and Jesus Christ is that Uncle Sam won’t enlist you in his service unless you are healthy and Jesus won’t enlist you unless you are sick.” Mark 2:17 affirms this when Jesus said, “Healthy people don’t need a doctor — sick people do. I have come to call not those who think they are righteous, but those who know they are sinners.”

My plea: Follow the instruction of Psalm 123:2 in that we “keep looking to the Lord our God for His mercy.” Christ compared the church to a hospital for good reason. If you break your leg, you don’t pretend you are fine. Conversely, while in a hospital with, let’s say, a nail through your hand, you don’t complete the paperwork as if all is well.

Let us stop pretending, no matter how real it feels, and return to the true heart of worship, with arms raised accepting His power and grace, our need of Him. In Mathew 11:28-30, Christ says, “Come to me, all of you who are weary and carry heavy burdens, and I will give you rest. Take my yoke upon you. Let me teach you, because I am humble and gentle at heart, and you will find rest for your souls. For my yoke is easy to bear, and the burden I give you is light.” We can remove the burden of pretending — as if we’d ever be able to measure up — with our soul finding rest in the assurance of salvation, believing that our righteousness is freely given because of the real sacrifice of our savior: Jesus.

C.J. Wetzler is the NextGen pastor at First Baptist Church of Deerfield Beach. Before transitioning into full-time ministry, CJ was a commercial airline captain, and high school leadership and science teacher. For questions or comments, he can be reached at cj@deerfieldfirst.com.

By Dave Montalbano

http://cinemadave.livejournal.com

2014 was such a disappointing year that last year I could only name seven movies for my annual Top 10 list. A few weeks later, Hollywood released their Academy Award considerations and I would have balanced the list with the following motion pictures: American Sniper, The Imitation Game, The Theory of Everything and Whiplash.

The movies for 2015 provided escapist entertainment. Beyond my own enjoyment, I could consistently hear people laughing, crying and applauding the images on the big screen. With good stories, interesting characters and clear visualization, movies were simply more fun in 2015. The included Top 10 list sidebar is presented in reverse alphabetical order.

Star Wars: The Force Awakens just dethroned Avatar as the biggest grossing motion picture of all time. Given the fragmentation of movies between television and Internet, the record breaking box office figures reveal that people still want to see big screen epic entertainment. Jurassic World allowed ticket buyers to see the actual size of a Tyrannosaurus rex on the Museum of Discovery’s 5-story IMAX screen.

2016 will feature a big screen box office battle between a Star Wars spin off (titled Rogue One) and Star Trek Beyond. Given the success of the Marvel Comics Expanded Universe, arch rival DC Comics plans to expand their universe with Batman v. Superman: Dawn of Justice, which will be followed up with Suicide Squad, featuring the Rogue’s Gallery of Villainy.

Despite a sense of diminishing returns from last year’s Avengers: Age of Ultron, Marvel is predicted to regain the box office championship throne with Captain America: Civil War. While Captain America (Chris Evans) and Iron Man (Robert Downey Jr.) are expected to fight on the big screen, Civil Wars is a political movie that will examine the fine line between security and liberty on May 6, 2016.

Change is in the air locally. The Palm Beach International Film Festival (PBIFF) is under new management. Given that the base of operations is in Manalapan, it remains to be seen if PBIFF will have relevance for our Observer readers this April. Stay tuned, we always have the Fort Lauderdale International Film Festival in November.

2016 will mark my 17th year writing this column in which we have witnessed the home video evolution from VHS to DVD to direct streaming through businesses like Netflix and Amazon Prime. Yet, for all of these technical innovations, nothing beats seeing a flick on the big screen for popcorn-eating Saturday Matinee fun.

By Dave Montalbano

AdventuresOfCinemaDave.com

At the poster unveiling at the Hilton Hotel last Thursday, Sept. 22, Festival Director Gregory Von Hausch announced the expansion of the 26th Annual Ft. Lauderdale International Film Festival (Oct. 21-Nov. 11). While Cinema Paradiso will act as the main hub, venues are expanding as far west as Sunrise and as far north as Muvico Pompano on Federal Highway. Info: www.fliff.com

Among the films premiering at the Muvico Pompano is the documentary about cowboys, Florida Cracker, and a WWII documentary titled Lost Airmen of Buchenwald. About 50 is a comedy about middle age. Newlyweds is a project from FLIFF25 honoree Ed Burns. The Last Rights of Joe May features Dennis Farina in a performance generating Oscar buzz.

Dennis Farina, Penelope Ann Miller, Piper Laurie, Senator George McGovern, Dennis Haysbert and son of acting legend Glenn Ford, Peter Ford, will be at this year’s festival. Ford has recently compiled his father’s biography, Glenn Ford: A Life and will attend a retrospective at Cinema Paradiso on Nov. 10. Besides selling and autographing his book, Ford will answer questions about his family (his mom is Eleanor Powell) after the screening of original 3:10 to Yuma, starring Glenn Ford in the Russell Crowe role.    FLIFF remains a vacation from ordinary film and a
celebration of our unique Florida culture. On Tuesday, Oct. 25, FLIFF will present The Legend of Ivan Tors, a documentary about the producer of such iconic Florida animal shows as Gentle Ben and Flipper. Sponsored by Carrabba’s Grill, this evening will feature a baked dinner alfresco in the courtyard. A regular sponsor of FLIFF, Carrabba’s also sponsors a monthly opera series at Cinema Paradiso featuring the works of Verdi and Puccini.

Released last week, Alice Cooper’s Welcome 2 My Nightmare should be considered a modern day Rock Opera. A sequel to the similarly-titled album rock classic from 1975,W2MN features Alice’s modern nightmare involving inferno, hip hop music, elevator music and auto tuners. For the most part, the W2MN music is fun, energetic and humorous with songs titled Disco Bloodbath Boogie Fever and Ghouls Gone Wild. However, there are some tear jerking ballads (I Am Made of You, Something To Remember Me By) and two operatic moments worthy of the opera Don Giovanni. With the Miami Dolphins going zero and three this season, W2MN provides a comforting solace.

Barry S. Anderson will be at Spooky Empire. Will you?

By Dave Montalbano

AdventuresOfCinemaDave.com

Last Monday night at Bru’s Room, the Deerfield Beach Reunion Committee adjourned for 10 years, making plans for the 40-year class reunion in 2021.

Many of us felt we had arrived at a domestic crossroads; one individual is buying her first house, some were dealing with their children graduating high school and  some are dealing with being the guardian to aging parents.

Opening tomorrow in limited release, My Afternoons with Margueritte is a beautiful and poetic French film about many characters at their crossroads. Gérard Depardieu portrays Germain, the town handyman who feels short-changed by life. His true solace is spent on the park bench with Margueritte (Gisele Casadesus), a 92-year-old bibliophile. Beyond talking about life, liberty and romance, the couple take pleasure in naming pigeons.

Told with flashbacks, Ger-main recounts having a verbally abusive mother. Margueritte becomes Ger-main’s mentor. Conflict ensues and Germain must set things right. Since the drama is not forced and the acting is subtle, this film becomes a pleasant cinematic choice.

For those seeking, instead, experiences of horror and terror, Spooky Empire’s Ultimate Weekend of Horrors will commence the second weekend in October. (www.spookyempire.com). The guest list now includes Malcolm McDowell, horror author Clive Barker and Barry S. Anderson, renaissance artist. Like Bill Hinzman, Anderson holds perfect attendance with Spooky Empire.

A “monster kid” from upstate New York, Anderson came to South Florida during Spring Break, got a regular job in Miami Vice and stayed here. He later joined Tom Savini’s special effects and makeup team on the set of George Romero’s Day of the Dead (1985).

He said, “This was a dream come true for a ‘monster kid,’ who grew up during the 60s and 70s watching Chiller Theatre every Friday and Saturday night while eating Jiffy Pop Popcorn!”

Besides a 17-year stint with Ripley’s Believe It or Not Museum, Anderson has contributed to the motion picture industry in a variety of films, from Hairspray to his recent independent feature shot in Orlando, Astro Zombies M4 Invaders from Cyber Space, which features a cameo appearance from his wife of 22 years, Chickie, and 9-year-old son, Miles.

Recently, he showed Miles the original Boris Karloff Frankenstein movies.  At first fearful of the monster, Miles later told his father, “The monster wasn’t bad, he was just looking for a friend.”

By Dave Montalbano

AdventuresOfCinemaDave.com

If Hurricane Irene leaves us alone, two varied movies opening this weekend will provide a fine diversion.

Don‘t Be Afraid of the Dark is a great date movie to end this summer’s blockbuster season. Chasing Madoff is an espionage documentary about the Gordon Gekko of our time, Bernie Madoff.

In the recent decade of irrational exuberance, money managers missed the signs of approaching doom. Much like ignoring hurricane warnings, people like Harry Markopolos warned the watch dog organization of Wall Street, the Security and Exchange Commission (SEC). When Madoff’s financial abuse made front page news,  the SEC lost credibility with independent investors. The sins of Madoff have affected charitable fundraising on a local level.

Sometimes veering too much toward dramatic comedy, Canadian director Jeff Prosserman’s superficial approach deflates Harry Mark-opolos’ emotional sacrifice.  That said, this film simplifies Madoff and his Ponzi schemes, making a complicated financial con job approachable for the layman.

For the past decade, Guillermo Del Toro has directed some of the most consistently interesting motion pictures; starting with The Devil’s Backbone, both Hellboy movies and Pan’s Labyrinth. He has also produced the gothic thriller The Orphanage and this summer’s best monster movie Don’t Be Afraid of the Dark.

Based on a 1973 teleplay staring Kim Darby and Jim Hutton, “Don’t Be Afraid of the Dark” opens with a scary myth-making prologue, good old fashioned opening credits that foreshadow the plot structure and an entertaining balance between laughs and scares.

Vulnerable from the opening scene, Bailee Madison plays the disregarded daughter of Guy Pearce, a real estate speculator who is trying to sell the Blackwood Mansion. Dealing with dueling divorced parents is trauma enough, but little Bailee must contend with scurvy little demons under her bed at the Blackwood Mansion. Once awakened, these intelligent little devils need a human sacrifice to be placated.

The success of this motion picture weighs heavily on 9-year-old Madison, a Ft. Lauderdale native. Along with the nifty special effects, Madison holds her own with veteran actors Katie Holmes and Guy Pearce. Don’t Be Afraid of the Dark is good popcorn-eating Saturday Morning escapism.

By Dave Montalbano

While attending a Family Reunion in Alabama, circa 1969, my dad made a point of introducing Annie Laurie to me. Annie Laurie was the Watson family cook for many decades.

My mom, aunt and 10 uncles kept in touch with Annie Laurie until she died a few years back. It is nice to know that my family treated Annie Laurie with more respect than the Southern Belles treat The Help in this movie based on Kathryn Stockett’s best-selling book.

Eugenia “Skeeter” Phelan (Emma Stone) returns from college and lands a job with the local newspaper, writing a “Dear Abby” column about household chores. Being a Dixie princess, Skeeter seeks advice from a friend’s help, Aibileen Clark (Viola Davis). Reluctant at first, Aibileen helps Skeeter with her column.

As Skeeter gains Aibileen’s trust, the young lady learns much about the subculture of The Help, black ladies who raise white women’s children. From cooking tasty food to changing diapers, these maids of Mississippi are the pillar of southern hospitality. Yet, in a culture where people are considered equal, but separate, the help are not allowed to use their employers’ bathrooms.

It is life’s details that plant the seeds of historical evolution. Ticket buyers witness the 1960s civil rights struggle of their neighbors. Director Tate Taylor takes Kathryn Stockett’s words and creates an entertaining motion picture with subtle depth.

Already, there is “Oscar” buzz about The Help. The SAG Awards will likely nominate The Help for Best Ensemble acting. 1970s veterans Sissy Spacek, Cicely Tyson and Mary Steenburgen sink their teeth into their small, but pivotal character roles, while Stone and Davis move the narrative along. Octavia Spencer will be remembered as the breakout star from this film.

Opening tomorrow is The Names of Love, a French romantic comedy that finds humor in religion, sex and politics.

Sara Forestier portrays Baya, an Algerian Arab hippie chick with leftist politics who is attracted to Arthur Martin (Jacques Gamblin) a straight-laced Jew whose parents are Holocaust survivors.

Taking a cue from Woody Allen movies, this film tackles dark themes with humor and has belly laughs involving social faux pas and Parisian nudity. Sara Forestier is a force to be reckoned with. She will next be seen in the U.S. as French pop star France Gall in Joann Sfar’s “Gainsbourg: A Heroic Life.”

By Dave Montalbano

While I am not a fan of end-of-the-world-as-we-know-it-flicks, The Rise of the Planet of the Apes was a pleasant surprise on so many levels — good story, interesting character development with a clarity of vision. Thought-provoking and fully entertaining, Rise of the Planet of the Apes has set a new standard with summer Science Fiction movies, while remaining true to the wild and original ideas of Pierre Boulle’s novella.

San Francisco Professor Will Rodman (James Franco) seeks to find a cure for Alzheimer’s Disease, as his father Charles (John Lithgow) suffers from this malady. When a female test subject reacts badly to treatment, Professor Rodman adopts her son, a baby ape. While Charles names the ape Cesar (Andy Serkis), Professor Rodman provides a nurturing environment and pharmaceuticals that promote intelligence.

Tragically, paradise is lost and Cesar ends up being a captive in a monkey house run by John Landon (Brian Cox)and his sadistic son Dodge Landon (Tom Felton).  After torture and abuse, Cesar organizes his cell-mates and creates ‘the rise of the planet of the apes.’

Director Rupert Wyatt provides realistic logic to Cesar’s evolution, making Cesar’s growth a joy to behold. The audience gets to know Cesar and his compatriots, as well as the rogues’ gallery of brutal humans. Wyatt is not afraid to present static scenes with no dialogue. When dialogue is spoken, the words actually have meaning.

In spite of the epic grandeur of this movie, this film is full of clever details for the Apes fans. Shortly before one climatic moment, a cameo appearance from the late Charlton Heston helps set the dramatic moment on a subconscious level.  It is a bone-chilling moment.

Given his performances as “King Kong” and “Gollum,” Serkis is the perfect actor to play Cesar in his motion-capture costume. The Academy Awards should create a special category for this type of performance. As Professor Rodman, Franco puts behind his public relations fiasco at this year’s Oscar’s ceremony. Given his success as Draco Malfoy, hopefully Felton will be able to play a nice guy soon, for the actor is quite good as the cad you love to hate.

On Aug. 20, Deerfield Beach High Class of ’81 reunion commences at Deer Creek Country Club. Tickets are $125 and include open bar, buffet, prizes and music. Save $25 by contacting Kelly Palmer-Skidmore at 561-445-6854 by close of business tomorrow, Friday, Aug. 12.

By Dave Montalbano

AdventuresOfCinemaDave.com

As Transformers departs the Museum of Discovery to make room for the final installment of Harry Potter, two more independent movies will be opening locally, The Trip, a funny flick, and Into Eternity, a serious documentary.

Into Eternity asks a simple question – how do you remove nuclear waste? Of course, the answers are not easy when one has to factor in that the contamination is poison to humans and that waste must NOT be touched for 100,000 years. Thus is the dilemma that is debated in this documentary from Denmark.

Writer/director Michael Madsen’s 75-minute documentary has visual echoes of 2001: A Space Odyssey and The Andromeda Strain. We witness long, static shots of entering storage caves and machines lowering nuclear container into pools of H2O. Presented in subtitles and dubbed English, we listen to the pessimistic “experts” debate the disposal problem.

Dead pan arguments over the philosophical question “How do we explain this problem to future generations?” No answer is truly obtained, but Madsen provides a pointed commentary. As the debate becomes as absurd as the arguments in the war room reminiscent of Dr. Strangelove or: How I Stopped Worrying and Learned to Love the Bomb,  the camera cuts to a reindeer pooping in the forest.

The Trip is a quasi documentary that involves a road trip and fine dining in the
English countryside. Steve Coogan and Rob Brydon (British Television’s equivalent to Bing Crosby & Bob Hope) portray fictional versions of themselves. Coogan is given an assignment to be a food critic. Unable to take his girlfriend, Coogan takes his married friend and arch rival, Brydon.

As Coogan and Brydon enter each pub, there are multiple montages of gourmet food being prepared. While dining, the two men amuse themselves by doing impressions of celebrities like Michael Caine, Sean Connery and Richard Burton. When the two start getting on each other’s nerves, Brydon breaks into another impression.

This film is a repetitive six- day journey that contains very British references and pithy comments, as one character states, “Behind every joke is a cry for help.”