Henry Poole Is Here for Friday Night Flicks

I always enjoy movies that explore challenging subject material, especially matters of faith, doubts and unbelief. One such film is from 2008, Henry Poole is Here, starring Luke Wilson. I’m sure you will recognize him because he is the current pitch man for AT&T’s ongoing television advertising campaign.

The story centers around Henry Poole, played by Luke Wilson, who has recently been diagnosed with a terminal illness. Poole purchases a house in his old working-class neighborhood where he had a difficult and painful childhood. All he wants to do is to be left alone to live out his remaining days in quiet desperation. His plans also call for the consumption of mass quantities of vodka. Poole feels that life has dealt him an unfavorable hand, and there is little to do but to accept the reality of his situation.

Contrary to Poole’s plans, his peaceful solitude is soon interrupted by his next door neighbor, Esperanza Martinez (Adriana Barraza), who believes that she sees the face of Christ embedded on the exteor wall of Poole’s home. She is convinced that it is a miracle because drops of blood are exuding from the wall.

Soon Esperanza is organizing pilgrimages to see the miracle in Poole’s back yard. Obviously, this does not set well for Henry’s peaceful existence. Henry is an unbeliever as well as an atheist and rejects the notion of any type of miracle. He only wises to die in peace. Complicating matters is Poole’s other next door neighbor who has a small child that seems to be attracted to Poole. As the plot unfolds, there is a question of what is actually happening to the people who touch the image. Some believe they are being healed. Do miracles really happen? Can Henry Poole be touched even if he doesn’t believe in the power of faith? And how do we choose to believe in things that we do not understand?

These are some of the questions that Henry Poole is Here poses. Any time you combine the subject of faith and miracles, you’re sure to open yourself up to criticism. And with that said, most film critics had a field day condemning Henry Poole is Here as nothing more than a complete waste of time.

Was it the subject material or the technical or artistic merits of the film that bothered the critics? I would agree that Henry Poole is Here may not be Oscar-worthy material, but it is a solid effort that, for the most part, hits the mark. This is one of Luke Wilson’s better efforts to date. And the supporting cast is clearly on target.

Henry Poole is Here is a very spiritual movie and has the capability to touch not only believers but agnostics and atheists as well. This film is authentic and real, and everyone can respect that. Few mainstream Hollywood films offer a positive view on faith. Henry Poole is Here avoids the usual pitfalls by not painting believers in a stereotypical manner—as narrow-minded, right wing religious zealots. The main Christian character, Esperanza, is seen as loving and exerts kindness and caring toward Henry. She has only his interests at heart.

Two of the key scenes in the movie illustrate the power of God at work in film. The first scene evolves around Poole confronting Esperanza on why she wants Poole to believe that a miracle is taking place and why it is necessary for her faith. Poole expresses his unbelief, resentment and doubt concerning the existence of God. The second scene is when Patience played by Rachel Seiferth expresses her desire to choose to believe in her miracle. This scene is a quiet example of how to share our faith in the small, meaningful moments, which most of us don’t recognize.

If you are looking for a film that is strange, thoughtful and unusual, then Henry Poole is Here is a good choice. Perhaps the real miracle of Henry Poole is Here is believing in something bigger than ourselves and the willingness to accept it. Maybe just discovering the joy of life once again, in and of itself, is a real miracle. For film goers, Henry Poole is Here is truly a miracle because we do not see films that are willing to explore matters of faith, belief, doubt and the healing power of God from mainstream Hollywood. That is truly a miracle.

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The Tree of Life

This may be one of the most difficult reviews I have ever attempted. Terrence Malick’s newest film, The Tree of Life, is unconventional to say the least. It doesn’t fit into any neat pattern or genre. It’s one of those films you are going to love or hate. There’s no middle ground. I’m not sure it fits into any type of story structure I’ve ever seen, nor does it follow the traditional three act structure to which we are all accustomed.

In some ways, it reminded me of 2001 A Space Odyssey, another film you either hated or loved. The Tree of Life is an ambitious film that aspires to explore the origins and meaning of life. Where do humans fit into the grand scheme of things? The film attempts to encompass all of existence and view it in the eyes of one family. In part, The Tree of Life is both a metaphysical and reality-based inquiry into the nature of God and His plan for our lives.

The plot at times is not easy to follow. In fact, I’m not sure there is a plot. The Tree of Life is viewed through the eyes of Jack (Sean Penn), a successful architect who seems to be lost and trapped in a world of high-rise buildings and enclosures. He sees a tree planted outside of his building that causes him to flash back to his childhood of Texas in the 1950s. We are introduced to Jack’s family, Mr. O’Brien (Brad Pitt), Mrs. O’Brien (Jessica Chastain) and his two younger brothers.

We watch Jack grow up through a series of daily life routines, which includes playing, fighting, embracing and loving each family member, crying, and family activities. It becomes clear that The Tree of Life serves as a metaphor for life’s journey.

The film presents life as a choice between two pathways—the path of grace and the path of nature. The path of grace is represented by Mrs. O’Brien. She views the world as a place full of wonder to be explored and embraced. She is gentle, nourishing, loving and forgiving. Mr. O’Brien embraces the path of nature. He sees the world as a place where one must fight to survive. Being too good is a detriment. He is strict with his family in an authoritarian way. He teaches the boys to fight. The world is a place where you take what you want by any means necessary.

The Tree of Life is essentially a struggle between these two natures. The boys are exposed to two vastly different world views. There is a conflict between what they are taught in church and what they experience at home. Jack especially struggles as he wants to be good but cannot find the strength to do so. He does what he does not want to do. He asks the question, “If God is not good, why should I be good? As a result, Jack becomes more rebellious, and his relationship with his father deteriorates, even to the point that he wants his father dead.

The Tree of Life is a very philosophical and spiritual movie. We are all trying to understand God’s nature, and we all ask questions. Aren’t we all pleading to God for answers? Where are you? Who are you? Just like Jack and Mr. and Mrs. O’Brien, who are dealing with the tragedy of the untimely death of a brother and son, we are all facing some difficulty, and we can’t understand why God has forsaken us. The struggle is real. Which nature will we follow? Which pathway will we choose? Is it the pathway of grace, which leads to forgiveness and redemption? Or is it the pathway of nature, which is self-centered, greedy and ultimately destructive? These are the types of issues and problems that The Tree of Life pose not only to the films characters but also to the viewer.

Terrence Malick has created a beautiful film. The images are mesmerizing and thought-provoking. Perhaps, he could have cut 10 or 20 minutes out of the run time of the 139 minute film; nevertheless, the film he has created has the ability to touch us on a very human level. His themes are universal because we all find ourselves caught between grace and nature. I see few movies that tackle these complicated and thought-provoking issues.

If you approach this movie with an open mind, you may very well come away with something very profound about you and the pathway you have chosen. The world we live in is confusing because, essentially, we have been taught two conflicting pathways. The Tree Of Life presents a strong case that trying to be a good person is not enough. We are going to have to look for something larger than ourselves. We’re going to look for God and find his nature.

The Way

The Way is perhaps one of the most spiritual movies I have seen in some time. The filmmakers describe their film as a powerful and inspirational story about family, friends, and the challenges we face while negotiating this ever-changing and complicated world. I would say they hit those themes straight on the head.

The Way is most certainly a “message” film. But don’t let that scare you or deter you from seeing it. It’s a message we are all living one way or another. This film is about a journey and finding meaning and purpose in life. We are all trying to do that. The Way is a family affair featuring father and son: Martin Sheen and Emilio Estevez. Sheen holds down the main acting role while Estevez serves as actor, director, producer and writer.

The premise or idea for the film was inspired when Estevez’s son, Taylor, began a pilgrimage on the Carmino De Santiago. Some call it the “Way of St. James” in which pilgrims began a walk which starts in France and continues for several hundred miles to a massive cathedral ending in Galicia, Spain. The reasons for the pilgrimage is as diverse as the people who take the journey.

Estevez says the movie is meant to be a film that is pro people, pro life and not against anything. The story starts with Thomas Avery (Martin Sheen) an ophthalmologist who lives the good life in California. He learns about the death of his son, Daniel (Emilio Estevez), who dies in the Pyrenees Mountains while he is attempting the walk of Carmino De Santiago. Thomas and Daniel have not seen eye-to-eye over the years. Nor have they spoken in some time. Daniel decided against finishing his doctorate and wanted to see the world. His father obviously objected and couldn’t understand why he wanted to throw a potentially brilliant career away.

After arriving in France, Thomas makes the decision to cremate his son’s body and decided to finish the pilgrimage for his son. Walking the way, he plans to spread Daniel’s ashes along the road. Perhaps, it’s a way for Thomas to reconnect with his son in a way he couldn’t do in life.

On the road, Thomas meets an assortment of characters that are on their pilgrimage’s for one reason or another. Sarah (Deborah Kara Unger) is a Canadian who wants to give up smoking. Joosh (Yorick Van Wageningen ) is from The Netherlands. His reason to walk The Way is to lose weight. Jack (James Nesbitt) is an Irishman who suffers from writer’s block.

At first, Thomas isn’t exactly looking for company. But soon, the four form a community and begin their quest. As the journey continues, it requires each pilgrim to examine his/her motivation and the real reason they are on this walk. Each of our characters may have a stated reason, but the truth is something altogether different. They all are looking for meaning and to make sense of life. The way of Carmino De Santiago is a personal journey, but our characters cannot do it alone. Perhaps, that’s one of the most interesting themes of this film. Our healing is tied to the journey and to community.

As the pilgrims are forced to walk for what amounts to two to three months, they have to come to terms with themselves and with what they really need from this pilgrimage. As I said, this is a spiritual movie. It’s not a religious movie as some of those who participate in the walk do not do it for religious purposes.

People have been making this pilgrimage for nearly a thousand years. The film as well as the walk is about loss, community, faith, and restoration. It’s a powerful film, beautifully shot and photographed. No question, it was a labor of love for both Martin Sheen and Emilio Estevez. The crew and the actors had to walk several kilometers to make this film.

If there is one line in the film that would sum up the entire journey, it would be this: “We don’t choose a life. We have to live a life.” Perhaps that’s the real secret behind the entire purpose of the Way of St. Thomas. Maybe the journey teaches us how to embrace and live life to its fullest while at the same time we connect with God in a more meaningful way.

The Spitfire Grill

A couple of nights ago, I screened The Spitfire Grill, a film from 1996, for my media class. Why would I pick a 16-year old, relatively unknown movie when there are plenty of new movies available? Because I’m looking for something special, something unique, and something often not found. I found a gem with The Spitfire Grill. Yes, it’s the kind of movie that Christians and media missionaries should be making, a redemptive story with heart and an emotional impact.

It fits my definition of a Christian film without being a “Christian” film, and it does so by speaking about Jesus the least but having Him most in mind. There are so few movies that accomplish this. It’s a true balancing act. There are a couple of other examples that come to mind, such as To End All Wars and Bella.

What do all of these films have in common? They all deal with pain and the human condition, which can be ugly at times. But somehow, they are also a celebration of life. They don’t pull their punches. They all have an emotional impact. They offer believable dialogue with believable characters. They are not afraid to use symbolism or metaphors. They understand that you have the intelligence to figure it out on your own. They don’t feel contrived or manipulated. That means the screenwriter isn’t throwing a bunch of plot points together to fulfill his or her agenda. All of these films offer no easy answers or any fairytale ending. But, above, all, they are honest and truthful.

The Spitfire Grill exceeds at all of these points. It is redemptive filmmaking at its best. The story is about a young girl recently released from prison. Percy Talbott, played by Alison Elliott, is looking for a fresh start. She arrives in a small town in Maine with hopes of starting a new life. She finds work at the Spitfire Grill owned by Hannah, played my veteran actress Helen Bursteyn.

As the story unfolds, we soon discover Percy’s tragic past. We also realize that Gilead, her new home, is a town with no future and no hope. Do we get second chances? And can we forgive ourselves for our past mistakes? These are the questions that the characters in Spitfire Grill must wrestle with.

Spitfire Grill debuted at the Sundance Film Festival in 1996. It won the prestigious Audience Award for best narrative film. The film was acquired by Castle Rock Entertainment for $10 million, which at the time was the highest amount paid for any independent feature film.

I find it amazing that Spitfire Grill was able to have so much success at Sundance. To say the least, the audience that attends the festival is somewhat diverse. Obviously, they did not see this as a Christian film. It was only later that critics pointed out that the funding for the film came from a Christian-based ministry. That criticism killed what could have been a much larger audience for the film.

Sacred Heart League, a Roman Catholic, non-profit communications organization based in Mississippi, put up the funding of $6 million to make Spitfire Grill. They looked at over 200 perspective screenplays looking for work that embraced Judeo-Christian values and good storytelling. They found what they were looking for in Spitfire Grill.

It took real guts to do what they did, putting $6 million in play with no hope of any return. They had no distribution deal until they got to Sundance. But, more importantly, they weren’t looking just to make a “Christian” film. They had the courage to take chances and allow the material to breathe.

I hope you take the time to discover Spitfire Grill. It’s a journey worth taking. It’s available currently on DVD. Because of its age, it’s unlikely you will be able to rent it. But I have found some online sources where it is available for as little as $6. Do yourself a favor and buy it.

Lars and the Real Girl

For those of you who came to last night’s class on spirituality and film, I hope you enjoyed Lars and the Real Girl. Over the next few weeks, we plan to screen several films that are off the beaten path. Independent cinema offers a voice not heard in mainstream Hollywood. It can be the best place to find spiritual films. Perhaps independent filmmakers have more creative freedom and expression than their mainstream counterparts in Hollywood.

It does require some effort and time to discover these “little” films that often get overlooked. But it’s worth the journey. All that is necessary is a little discernment and a taste for the unusualness and quirkiness of life, which we all possess.

I’ve seen Lars and the Real Girl several times, and with each viewing I discover something new, which is usually a sign of a great film. This is a beautifully made film. Filmmaking can be a difficult process, but when everything comes together, you have magic. In the case of Lars and the Real Girl, we have a director with a clear vision, a writer who has written a powerful screenplay, and the right actors who have been appropriately casted for difficult parts. Plus, the cinematography is first class.

I find it interesting when writers choose quirky little Midwestern towns in the dead of winter for their backdrop. The filmmakers are successful in making the town an intricate character in the story. But the most enduring elements of the film are sense of community, acceptance, love and kindness. Lars and the Real Girl is a spiritual film because of its reflection of what a true Christian community should be. I’m not sure that’s what the filmmakers had in mind, but that’s what they’ve created.

The film is a reflection of I John 3:18, which says, “My little children, let us not love in word, neither in tongue, but in deed and in truth.” The town folks of Lars and the Real Girl are challenged to put their faith and love in action. In other words, it’s a practical application of what they believe. What we have here is another example of a “Christian” film that’s not a Christian film. If you are interested in making movies from a faith-based perspective, I highly recommend that you take a look at this film from several different angles to break down each element and discover why it works.


Here’s a quick synopsis. Lars Lindstrom (Ryan Gosling) is a lonely, shy and socially inept young man living in the converted garage behind the house of his brother and sister-in-law. Lars develops a relationship with a life-like doll that is anatomically correct, which he orders on-line from an adult website. I know it sounds creepy, but this is a case where the content makes complete sense in terms of the context of the film. So don’t freak out. Lars has detached from reality and is convinced that Bianca (the life-sized doll) is a real person. In fact, she is a wheelchair-bound missionary from Brazil.

Lars’ brother, Gus, and sister-in-law, Karin, convince Lars to take Bianca to see the family doctor, who is also a psychologist. Her diagnosis is that this is a delusion of Lars own creation and urges Gus and Karen to treat Bianca as if she is a real person.

So how do Gus and Karin handle the situation? How will the church they regularly attend react? What about the townsfolk’s? Will they go along? Can anybody help Lars?

For some, this plot may seem preposterous and implausible. But somewhere along the way, the filmmakers find the divine that exists in each of us through God’s grace and love. It’s a clear question of how far we are willing to go in reaching out to people in need even those different from us. Can we get out of our comfort zone? We, as Christians, love the idea of Christianity and often practice our faith as theory. But, at times, we have difficulty in putting it into action. Without action or deed, our faith really doesn’t mean anything.

We find in Lars and the Real Girl the real Christian community we all hope for—unconditional love, acceptance and redemption. How can we make our current Christian community reflect a true Biblical community? How can I reach out in love to people that I don’t understand and find different than me? Am I willing to go the distance no matter the personal cost, including looking ridiculous.

Like Lars, on some level, we have all disconnected perhaps from God and each other. How can we find our way back? What was Lars turning point? Is there something from Lars and the Real Girl that I can apply to my personal life? Let’s start a discussion. I want to hear what you think.