A discussion of religion, faith, and spirituality in film hosted by Kenneth R. Morefield and Todd C. Truffin. The Thin Place was formerly a Film Geek Radio production and is sponsored by 1More Film Blog.
Alex McKee subs in for Todd to discuss whether or not one has to know the Entourage television show to like the movie. He and Ken also discuss the ethics of nudity and violence in film and whether Entourage satirizes or glorifies the Hollywood lifestyle.
Alex McKee subs in for Todd to discuss whether or not one has to know the Entourage television show to like the movie. He and Ken also discuss the ethics of nudity and violence in film and whether Entourage satirizes or glorifies the Hollywood lifestyle.
Todd and Ken discuss Yasujiro Ozu's Tokyo Story. Is the film compassionate towards its characters? Does it blame one generation more than the other for the deterioration of family? Does the film lament the breakdown of the extended family or merely document it? Ken questions whether there is an ideal organization of extended families and whether our expectations of them come from The Bible or our respective cultures. Also: what does any of this have to do with King Lear or Downton Abbey? Tune in and find out.
Todd and Ken discuss Yasujiro Ozu's Tokyo Story. Is the film compassionate towards its characters? Does it blame one generation more than the other for the deterioration of family? Does the film lament the breakdown of the extended family or merely document it? Ken questions whether there is an ideal organization of extended families and whether our expectations of them come from The Bible or our respective cultures. Also: what does any of this have to do with King Lear or Downton Abbey? Tune in and find out.
On the road at the 2015 SXSW Film Festival, Ken and Todd report back on the documentary The Jones Family Will Make a Way.The film chronicles the unlikely alliance between an African-American family of gospel singers and the white, secular rock critic who loves their music.Todd likes the Jones Family Singers but questions the film’s narrative frame (which seems to treat the mainstreaming of gospel music as a new phenomenon). Ken likes the way the film challenges our preconceived notions of what happens when Christian artists interact with secular counterparts. And they both think the music is terrific. Listen to the full podcast here.
Todd and Ken are back for the last podcast of the year, and they are looking at John Michael McDonagh’s Calvary. The film was recently honored by the 2014 Arts & Faith Ecumenical Jury as one of the ten best of the year, so why are the hosts a bit cooler towards it?The discussion examines issues such as corporate guilt and why no human character can ultimately be a satisfying “Christ†figure. Is the film an allegory? If so, of what? And does the film change its mind about whether or not Father James is an innocent victim?
Antoine Fuqua directs Denzel Washington in The Equalizer. Ken and co-host Todd Truffin examine the film and question whether violence, even in the service of justice, can ever be practiced without a psychic and spiritual toll. Is it okay to hate the wicked? To celebrate their downfall? If so, when? And what are the spiritual dangers of doing so?
Do you believe in karma? Why did Shep Gordon beg John Lennon to have his picture taken with Anne Murray? Who created the celebrity chef? What really happened the night Alice Cooper didn’t bite the head off of a chicken? And can *anyone* just drop in at Shep’s home in Maui? Ken and Todd discuss Mike Myers’s endearing (perhaps too endearing) portrait of the king of all the talent managers in a podcast about Supermensch: The Legend of Shep Gordon.***Content Advisory*** This podcast contains some explicit language (a crude sexual term that Shep is wearing on a T-Shirt in one picture is described).
Luc Besson’s Lucy stars Scarlett Johansson as a woman who is exposed to a new synthetic drug that allows her to access more and more of her brain. Does the drug give her godlike powers, or is the film suggesting that she actually becomes God? And what does Lucy’s transformation say about the way we conceive God? Lucy is a summer popcorn movie, to be sure. But when a movie has this much God symbolism, you can bet The Thin Place is going to ponder what it all is supposed to mean.
As the World Cup draws to a close, Ken and Todd discuss one of the best films ever made about our obsession with sports. What is the difference between enthusiasm and obsession? At what point does a central preoccupation become idolatrous? Is the film postmodern? And what does any of this have to do with the book of Ecclesiastes?
Back after a hiatus, Ken and Todd discuss Doug Liman’s sci-fi film, The Edge of Tomorrow. Why is the way violence is represented in the film particularly disturbing? Are we intended to laugh at it? And why does Todd say the movie reminded him of watching someone play a video game?
Just in time for the Academy Awards, Ken and Todd look at one of the nominees: Stephen Frears’s Philomena. How does the film depict its protagonist’s Roman Catholicism, and what can those outside that denomination learn from her example?
Ken and Todd talk about depictions of Wall Street in Oliver Stone’s film of the same name and, more recently, in Martin Scorsese’s The Wolf of Wall Street. What does Stone’s dedication tell us about which character is the moral center? Does Bud Fox look into the abyss or dive in head first? How does Jordan Belfort compare to Gordon Gekko, and how does that comparison reveal ways America has changed in the last three decades?
Todd and Ken examine 12 Years a Slave. Is God absent from the world of slavery? Are there contemporary lessons or themes to be drawn from this historical drama? Why is the singing of “Roll Jordan†the most important scene?
Todd and Ken take a look at Ernst Lubitsch’s To Be or Not to Be. Should some topics be off limits for comedy? What line did even Lubitsch’s team fear went too far? Who is the film’s real villain? (Hint: it’s not the Nazis.) What films today make us similarly uneasy and what can we learn from films that disquiet us?
Ken and Todd discuss Guillermo del Toro’s horror film that has recently received the Criterion treatment. What is the difference between horror and Gothic? When is violence tragic rather than just shocking? How does belief in “the curse†unite the materialist and the spiritually minded?
Ken and Todd are back, and they are discussing one of this fall’s most anticipated films: Gravity. Is it a thriller or a drama? What do we mean when we call something a “good†film? Is it “well made†or “effective� And can the hosts avoid the implication that, for a Christian, content is more important than technique when judging a film?
Todd and Ken discuss Vittorio De Sica’s poignant saga of an aged pensioner trying to avoid eviction. What are the differences between empathy and pity and which does the film invoke? Is Umberto D. unlikable?
Peter Waldron drops in on The Thin Place to sub for the vacationing Todd and to render Ken momentarily speechless with his take on one of the more iconic climactic moments in Hollywood history. Does Ethan Edwards have a redemptive moment? Does he need one?
Ken and Todd look at the original pacific rim monster and compare the theme of sacrifice in Gojira to that presented in modern disaster films.
Ken and Todd examine the conventions of action films and how White House Down uses them. Do action films promote American exceptionalism? How does the use of comic relief undercut the film’s moral seriousness? What makes a true hero?
Todd and Ken look at Ingmar Bergman’s The Magician. Is the film about the conflict between rationalism and faith or the conflict between performers and critics? What did Bergman say about the film in interviews? What makes Ken say that Bergman is the director he’s tried the hardest to like without success? Did The Magician change his mind?
Ken and Todd discuss Ramin Bahrani’s At Any Price. Which family member did Todd want to see more of? What connections does Ken see between this film and Chop Shop? Is the film’s climactic sermon meant ironically? WARNING: Plot spoilers.
Todd and Ken discuss the films of Roberto Rossellini, focusing on Stromboli. How sympathetic is Karin? What does the film’s reference to the book of Isaiah mean? Is the ending positive, negative or ambiguous? WARNING: Plot spoilers.
Ken and Todd discuss Brian Helgeland’s hagiography of Jackie Robinson.
Todd and Ken look at Disney’s Wreck-It Ralph, and ponder whether or not being written into a computer program is an apt metaphor for predestination. Also, what makes Ken compare Wreck-It Ralph to Paradise Lost?
Todd and Ken discuss Martin Scorsese’s (in)famous imagination of the life of Jesus. Is it really blasphemous? Is it any good? Do you have to watch a movie to be able to boycott it? And how do you pronounce “Nikos Kazantzakis�
Todd and Ken examine the morality of making stories about other people’s lives. What is the difference between “truth†and “accuracy,†and is accomplishing one ever an excuse for neglecting the other? Should historical fiction be judged differently from imaginative fiction? Why or why not?
Ken and Todd look at John Ford’s adaptation of John Steinbeck’s novel. What is the difference between poverty and destitution? Who is the audience surrogate? How is mythologizing the past different from arguing about the present?
Ken and Todd claim that Peter Jackson doesn’t really understand the material that he is adapting. Is there any way they can back up such a claim?
Ken and Todd tackle Ben Lewin’s The Sessions. Can a priest ever give you permission to sin? Does calling something therapy change what it is? Is God a bully who hates us and wants us to be miserable? Is it possible to be compassionate while still having standards?
Ken and Todd revisit William Friedkin’s horror masterpiece, The Exorcist, and use it as a springboard to talk about whether or not Christians should watch horror movies. Does the film imply that evil is stronger than holiness? Who is the main character? What does the film say about the spiritual condition of the late 20th century?
Ken and Todd look at Rian Johnson’s sci-fi, time-travel hit, Looper. Is changing the future the same as “playing God� Is there anything theological about the film’s depiction of addictions? What verse in the Book of Genesis makes Ken doubtful that time-travel is ever really possible? Just what exactly is soul annihilation, and why does the way we interpret the film have consequences for the way we conceptualize hell?
Guest host Andrew Johnson joins Ken at the Toronto International Film Festival to discuss Mike Newell’s adaptation of Charles Dickens’s classic novel. What is the difference between grace and random acts of kindness? Which character reminds Ken of the rock opera Chess? Warning: some profanity in this episode.
Director Julia Haslett makes a documentary that is part biopic, part self-reflection. How should we respond to human suffering? Do Simone Weil’s writings give us a road map for answering that question?
Critics polled by Sight & Sound magazine in 2012 ranked Vertigo as the greatest film of all time. What does that ranking say about the spirit of the age? Is the greatness of a film measurable? If not, why do we keep trying? What causes our obsession with lists? Ken and Todd discuss Alfred Hitchcock’s masterpiece and the poll that thrust it back into the limelight. Warning: Spoilers for Vertigo and Sunrise: A Story of Two Humans.
On the road at the 2015 SXSW Film Festival, Ken and Todd report back on the documentary The Jones Family Will Make a Way.The film chronicles the unlikely alliance between an African-American family of gospel singers and the white, secular rock critic who loves their music.Todd likes the Jones Family Singers but questions the film’s narrative frame (which seems to treat the mainstreaming of gospel music as a new phenomenon). Ken likes the way the film challenges our preconceived notions of what happens when Christian artists interact with secular counterparts. And they both think the music is terrific. Listen to the full podcast here.
Todd and Ken are back for the last podcast of the year, and they are looking at John Michael McDonagh’s Calvary. The film was recently honored by the 2014 Arts & Faith Ecumenical Jury as one of the ten best of the year, so why are the hosts a bit cooler towards it?The discussion examines issues such as corporate guilt and why no human character can ultimately be a satisfying “Christ†figure. Is the film an allegory? If so, of what? And does the film change its mind about whether or not Father James is an innocent victim?
Antoine Fuqua directs Denzel Washington in The Equalizer. Ken and co-host Todd Truffin examine the film and question whether violence, even in the service of justice, can ever be practiced without a psychic and spiritual toll. Is it okay to hate the wicked? To celebrate their downfall? If so, when? And what are the spiritual dangers of doing so?
Do you believe in karma? Why did Shep Gordon beg John Lennon to have his picture taken with Anne Murray? Who created the celebrity chef? What really happened the night Alice Cooper didn’t bite the head off of a chicken? And can *anyone* just drop in at Shep’s home in Maui? Ken and Todd discuss Mike Myers’s endearing (perhaps too endearing) portrait of the king of all the talent managers in a podcast about Supermensch: The Legend of Shep Gordon.***Content Advisory*** This podcast contains some explicit language (a crude sexual term that Shep is wearing on a T-Shirt in one picture is described).
Luc Besson’s Lucy stars Scarlett Johansson as a woman who is exposed to a new synthetic drug that allows her to access more and more of her brain. Does the drug give her godlike powers, or is the film suggesting that she actually becomes God? And what does Lucy’s transformation say about the way we conceive God? Lucy is a summer popcorn movie, to be sure. But when a movie has this much God symbolism, you can bet The Thin Place is going to ponder what it all is supposed to mean.
As the World Cup draws to a close, Ken and Todd discuss one of the best films ever made about our obsession with sports. What is the difference between enthusiasm and obsession? At what point does a central preoccupation become idolatrous? Is the film postmodern? And what does any of this have to do with the book of Ecclesiastes?
Back after a hiatus, Ken and Todd discuss Doug Liman’s sci-fi film, The Edge of Tomorrow. Why is the way violence is represented in the film particularly disturbing? Are we intended to laugh at it? And why does Todd say the movie reminded him of watching someone play a video game?
Just in time for the Academy Awards, Ken and Todd look at one of the nominees: Stephen Frears’s Philomena. How does the film depict its protagonist’s Roman Catholicism, and what can those outside that denomination learn from her example?
Ken and Todd talk about depictions of Wall Street in Oliver Stone’s film of the same name and, more recently, in Martin Scorsese’s The Wolf of Wall Street. What does Stone’s dedication tell us about which character is the moral center? Does Bud Fox look into the abyss or dive in head first? How does Jordan Belfort compare to Gordon Gekko, and how does that comparison reveal ways America has changed in the last three decades?
Todd and Ken examine 12 Years a Slave. Is God absent from the world of slavery? Are there contemporary lessons or themes to be drawn from this historical drama? Why is the singing of “Roll Jordan†the most important scene?
Todd and Ken take a look at Ernst Lubitsch’s To Be or Not to Be. Should some topics be off limits for comedy? What line did even Lubitsch’s team fear went too far? Who is the film’s real villain? (Hint: it’s not the Nazis.) What films today make us similarly uneasy and what can we learn from films that disquiet us?
Ken and Todd discuss Guillermo del Toro’s horror film that has recently received the Criterion treatment. What is the difference between horror and Gothic? When is violence tragic rather than just shocking? How does belief in “the curse†unite the materialist and the spiritually minded?
Ken and Todd are back, and they are discussing one of this fall’s most anticipated films: Gravity. Is it a thriller or a drama? What do we mean when we call something a “good†film? Is it “well made†or “effective� And can the hosts avoid the implication that, for a Christian, content is more important than technique when judging a film?
Todd and Ken discuss Vittorio De Sica’s poignant saga of an aged pensioner trying to avoid eviction. What are the differences between empathy and pity and which does the film invoke? Is Umberto D. unlikable?
Peter Waldron drops in on The Thin Place to sub for the vacationing Todd and to render Ken momentarily speechless with his take on one of the more iconic climactic moments in Hollywood history. Does Ethan Edwards have a redemptive moment? Does he need one?
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