“And heaven knows I’m prone to leave the only God I should have loved/And yet you’re far too beautiful to leave me.” – The Oh Hello’s
As I write this, the clock is telling me it’s 3:16 am – a fact I completely believe, given that my head is fixing make unbridled contact with the keyboard any second now. But that’s okay. I just returned from a late showing of Captain America: The Winter Soldier, and seldom has exhaustion felt so satisfying.
This isn’t really a review – the wee hours of the morning are not my finest, coherency-wise – but I would like to tell you to go see this movie. Seriously, folks. Even if you’re not a fan of superhero movies, go see this one. It’s splendid, and sweetly ironic, too: here is Marvel’s “dullest superhero” delivering the smartest, coolest, and most sophisticated film in the canon to date.
If it helps, allow me to put it in these terms: The Winter Soldier is a 12 oz. steak, next to which The Avengers is a jar of Gerber baby food. Yes, I really went there. Your move, Mr. Whedon.
P.S. This may or may not have been the first Marvel film to make me misty-eyed.
P.P.S. Hold onto your butts: the action scenes are insane.
P.P.P.S. There are two post-credit scenes. You do not want to miss either one.
In A Landscape with Dragons, Michael O’Brien makes a key distinction between the horrors found in classical tales and the horrors that saturate so much contemporary fiction:
These shocks are presented as ends to themselves, raw violence as entertainment. In sharp contrast, the momentary horrors that occur in classical tales always have a higher purpose; they are intended to underline the necessity of courage, ingenuity, and character; the tales are about brave young people struggling through adversity to moments of illumination, truth, and maturity; they emphatically demonstrate that good is far more powerful than evil. Not so with the new wave of shock fiction… This nasty little world offers a thrill per minute, but it is like a sealed room from which the oxygen is slowly removed, replaced by an atmosphere of nightmare and a sense that the forces of evil are nearly omnipotent.
Shock Report – “Back then, they called him Molech and they killed in primitive darkness. Today they call him Choice and they kill in clean, white rooms.”
Teach Him a Code of Honor – An excerpt from A Landscape with Dragons.
Aronofsky’s Noah: a panoply of Jewish paganism – Fascinating: “All this wrangling with God, but of course, Aronofsky doesn’t even believe in God. For him and his partner, ‘God’ is a literary construct used to explore the human condition. And thus, in the end, we find that all we have is our choices and our values and our mercy. And that’s what drives this apostate Jewish tradition, and what drives Aronofsky’s Noah.”
Christian Discernment and Candace Cameron as a Model of Modesty – My Mom hits this one out of the park. Just sayin.
Why Is This Issue Different? – DeYoung writes, “I received an email yesterday afternoon to this effect: Could someone please give a short, simple explanation as to why the issue of homosexuality is not like Christians differing on baptism or the millennium?”
Wolverine The Musical – ‘Who Am I?’ from Les Mis like you’ve never heard it before.
Sympathy for the Devil – Possibly the best piece on Noah I’ve read yet.
“We should not think that those who will not listen to what Scripture says will listen to anything else – so why resort to gimmickry?” – D.A. Carson