Recommended Movies

(Updated March 19th, 2011)

My top movie night picks (alphabetically, not in order of preference). Remember, these are just suggestions: preview these movies first to see if they'll work for you. Also, after you find movies you like, check out other movies from the same director or screenwriter (I'll sometimes list the screenwriter, but I will always list the director, along with the year the movie was made). Finding a good director or writer is a fairly decent way of finding consistently excellent movies: it's a better indicator than by paying attention to stars or whatever. A great resource for this sort of information is www.imdb.com (the Internet Movie Database). It's been a lifesaver for me many a time. Also, give www.rottentomatoes.com a try. It's a good source for getting a general feeling of whether people feel that a particular movie is worth watching or not.  Another resource that might be helpful is www.hollywoodjesus.com. It's got some very interesting reviews and some helps about thinking through the "spiritual connections" that can be made in these films. But consult the reviews (at either site) after you watch the movie for the first time, since online reviews often contain spoilers (plot summaries, etc.). I've tried to avoid spoilers in my capsule reviews below). Enjoy the movies listed here.


13 Conversations About One Thing. (2001) Director Jill Sprecher co-wrote the screenplay with her sister Karen. It's a tale of how five people's lives intersect and influence each other. It's got a great ensemble cast including Alan Arkin, John Turturro and Amy Irving. One of the better movie night movies we've done because, if you have five stories running at once, if you can't find something to discuss in one, you've got plenty of others to choose from. Themes include guilt and personal responsibility, commitment (versus having an affair just to shake up the routine), which outlook on life is more wise: optimism or cynicism.

21 Grams. (2003) A very interesting movie, but also emotionally devastating. Director Alejandro González Inárritu really makes you pay attention by dischronologizing the story. A scene that would conventionally appear at the end of the movie is cut into the beginning, and vica-versa. The film becomes like a puzzle that you have to put together. But it also serves to soften the blow of the tragedy that takes place, because you already sort of know it's coming. The title refers to a doctor who weighed dying people and said that the average human body loses 21 grams at death (ergo, the human soul weighs 21 grams). The film explores: "What does a life, a soul truly weigh?" by looking at the impact of a tragic accident on a mathematician, a wife and mother, and a born-again ex-con. The leads (Sean Penn, Naomi Watts, and Benicio Del Toro) are all magnificent. It is a superbly done movie (I?m trying to get ahold of Amores Perros, Inárritu's earlier movie which I've heard is also brilliant). Do be warned: there is some nudity and sex (more than I felt comfortable with), but interestingly, very little on-screen violence. But you will find plenty in this movie to talk about. There is a church full of scary evangelical Christians led by a very intense pastor (who, I would argue, doesn't have a clue what grace really is, though he says the right words). You can also talk about the impact of death, the meaning of life, how people deal with pain and guilt (by escaping through drugs or sex, by trying to somehow pay it back, etc.). Be forewarned: this movie is very emotionally intense, though different people react differently to it. Some found it hard to discuss afterwards, and one girl left in tears before the discussion began. Others had an easier time of it. It is by far the most difficult (but potentially very rewarding) film I've shown.

25th Hour. (2002). Spike Lee does a great job telling a very personal story in the shadow of post-9/11 New York. Edward Norton plays Montgomery Brogan, a drug-dealer who's been convicted and looking at seven years in prison. The film follows his final 24 hours before he is due to report to prison. The film is wonderfully written (though if you're offended by strong language, you might want to pass on this one), including two extended soliloquies that demonstrate how good script-writing can be. The film raises issues such as: our choices can have heavy consequences, how people deal with good and evil (two of Montgomery's closest friends are like inverted images of each other, one consumed by guilt, the other aggressive and self-righteous). My students really liked this one, and we spent a looooong time discussing issues raised by the film.

About Schmidt. (2002). Written and directed by Alexander Payne. Jack Nicholson gives a tour-de-force performance that?s comic and serious by turns in this character study of a retired insurance man on the road to discover who he is and why he's alive. The thing that makes this film so discussion-worthy is that the story methodically strips Schmidt of every aspect of life that we usually use to define ourselves, to tell ourselves who we are (job, wife, children, etc.). So what's left? Who are we without all these things? That can be an interesting discussion.

Adam's Apples. (2005). Original title: Adams Abler. Directed and written by Anders Thomas Jensen. This Danish film didn't get much of release, but it is well worth seeing. The film lives somewhere between the realms of black comedy and existential drama. It tells the story of a Neo-Nazi skinhead named Adam, who is paroled into the care of a small church community led by a pastor, Ivan. The characters that make up the community are as engaging as they are dysfunctional. The themes to look out for are the nature of faith versus reason and facts. The film takes an existentialist approach (very similar to that of Danish philosopher/theologian Soren Kierkegaard) that the nature of faith is to be opposed to reason. I cannot say much more than that without giving away too much. I immensely enjoyed the film. Do be aware, however, that the film contains some swearing and a couple of scenes of fairly intense violence, so it is not for children.

Adaptation. (2002). Directed by Spike Jonze. Truly one of the strangest movies I?ve seen in a long time. Nicholas Cage plays a real-life Hollywood screenwriter (Charlie Kaufman of Being John Malkovitch fame) and his (fictional) twin brother, struggling against writer's block to adapt a book about orchids to the screen. A very postmodern movie in that there is a screenwriters' conference in the middle of the movie where we learn what makes a truly good story, and then the movie ironically employs those very techniques towards the end of the film (which puts the viewer in a place where he is also vicariously the screenwriter). But even through the irony and self-reference, the movie has a heart: about the struggle of the writer to break free from himself and his own obsessive concern with what others think of him. The answer (given by the twin) is that one chooses to love, and no one can take that away from you. Your life is defined by your love, your passion, not by what that object of affection thinks of you. A great place to start a discussion. Is that true? (Well, from a Christian perspective, yes and no).

Almost Famous. (2000). Written and directed by Cameron Crowe (he also directed Vanilla Sky and Jerry Maguire). Another one of those road/coming of age movies. Charming in its own way. A tale of a young writer trying to write a story for the Rolling Stone. Issues to discuss include the corruption of fame, hero worship and the reality of rock-n-roll heroes, and where your true home is.

Amelie. (2001). An odd gem of a movie. Directed and co-written by Jean-Pierre Jeunet. Also known as Le Fabuleau Destin d?Amélie Poulain. Starring the almost-too-cute Audrey Tautou. It's sort of a love story, and a journey of self-discovery (for Amelie, for her father, for a garden gnome lawn decoration). What I love about this movie is the playful way it finds beauty in the small details of life. We talked a bit about waking up to the world around you (instead of just letting it lie there, inert). That sensibility is, I believe, very Christian (even though Amelie is hardly a Christian movie). We also talked about what love means, how Amelie thinks that she will be saved by love (it is her destiny). A strange film, and we had a strange discussion, but well worth seeing.

American Beauty. (1999). It does have some sex and drug content, but among the right audience, it could raise some great discussion about the nature of truth, beauty, the good (you know, the big ones). Sam Mendes' first (first!) major motion picture, for which he won best picture at the Oscars. A really fine ensemble performance led by Kevin Spacey. When we did this one, we looked at issues of duplicity and integrity. Nearly all of the major characters live some sort of double life, and I asked which they character they liked best. The students liked none of them, really (which surprised me). So we explored whether that's how we'd like to live our lives, and where does real integrity come from.

American Splendor. (2003). This is another odd little gem of a movie, very hard to categorize. Shari Springer Berman and Robert Pulcini (both documentarians) directed this biopic about Harvey Pekar, a file clerk at a hospital in Cleveland (they co-wrote the script too, with help from Pekar and his wife, Joyce Brabner). Paul Giamatti (one of the busiest character actors in Hollywood) does a splendid job of inhabiting the role of Harvey Pekar. Harvey deals with life and alleviates the boredom by writing stories for a comic book about his life (called American Splendor) that he got his cartoonist friend, R. Crumb, to illustrate. What I liked most about this film were the characters: they were so real (because they are real in this postmodern movie, the real people show up in the film from time to time). Pekar and his friends are, for all appearances, real losers that nobody we would notice. And yet out of this nobody comes these darkly funny, absurd, and wonderfully vivid ruminations about ordinary life. It made me hesitate when folks that looked like losers pass me by on the street. I wonder what their inner life is like. In other words, this movie lends dignity and grace (without sentimentality) to a whole category of people that we tend to dismiss. And that, my friends, is something Jesus was in the business of doing, too. For Jesus, there were no little, unimportant people. In that sense, this story shines with grace and redemption (without having an explicitly Christian message). It's just a very human movie; disarmingly so. Plus, I loved the films jazz soundtrack. I can't get enough of Miles in the movies.

An Education. (2009). Nick Hornsby (High Fidelity) adapted and directed this autobiographical account of the corruption of a young girl by Lynn Barber. Carrey Mulligan does a beautiful job portraying Jenny, a 17-year-old who has her whole future ahead of her, and thinks that it looks tedious. She wants more, and con-man David (played with just the right amound of vulnerability by Peter Sarsgaard). We found that this movie gave us all sorts of opportunities to talk about some pretty deep issues.  At one point in the movie, Jenny bursts out to her school's headmistress about how boring and pointless it all is, begging the school headmistress to give her some clue as to why she should go through the motions like a good girl.  The headmistress cannot, showing that the adults don't have a clue as to what it's all about either.  We ended up talking long into the night about whether life has meaning, and whether we can know its meaning, and if we can, what we should do about it.  This is a film worth watching just to get to some of those issues.  Other things you can talk about: integrity and being real (having a con man and a corrupted girl with a double life, the film lends itself to such a theme), the purpose of fun, ethics, etc.  There is no nudity or violence, but because of language and sexual themes, it's not for kids.
 

La Antena. (2006). Written and directed by Esteban Sapir. This film from Argentina is a little gem, and most unusual for this time: a modern silent movie. The story has to do with a city where a greedy captain of industry has stolen all of the voices, and he wants to steal even more. I cannot say more without spoiling too much of the movie. Suffice it to say the plot follows the exploits of a brave man and woman and their child as they strive to give the city back its voice. Because it was made in 2006, Sapir does all sorts of imaginative things with the titles. Nonetheless, watching a silent film is a completely different experience, because you get all the information from seeing, and you have to concentrate more. But it's worth it. There's definitely a political message here: characters chained to swastikas by the greedy capitalist villain, the heros dressed like Soviet pilots. Nevertheless, what we the most time talking about was the importance of having a voice, and how central it is to being human. We also talked about the film's assumption: that humans deserve voices, that they deserve to be heard. The question we pondered was why this is so. What is it about human beings that make them worthy of having voices? What is it about humans that voice-lessness is so intolerable? You cannot answer such questions from an atheist/communist perspective. You can from a Christian perspective. It's an interesting movie, and it led to interesting discussions afterward. Highly recommended. There is some brief nudity, so be advised.

The Apostle. (1997). Robert Duvall wrote, directed, produced and starred (AND put up five million dollars of his own money). Duvall's character study of a Southern Holiness preacher (Sonny Dewey) is a tour de force. He also wrote a very strong script that treats believers with dignity, while still showing their weaknesses. A good film for discussing what makes a good person, or a bad person, and what does grace mean. The scene where Billy Bob Thornton comes riding in on a bulldozer to knock down Sonny's church is worth the whole film.

Babette's Feast. (1987). The original title, in Danish, is Babettes gaestebud. Written and directed by Gabriel Axel, adapted from a novel by Isak Dinesen. This is perhaps one of the best suited movies for a movie night. The story involves two spinster sisters who have devoted their life to God, carrying on the work of a very severe Christian religious sect started by their father. A refugee from the French Revolution comes to their door asking for refuge, and she becomes their cook. It's not giving anything away to say that the climax of the movie involves (can you guess?) a feast prepared by Babette for the members of this dour religious community. But the exquisite food of that banquet acts in a spiritual way. It is meant to represent God's grace. There are so many parallels with the Christian gospel that it is truly hard to miss (for example, there are 12 guests at the feast that Babette has prepared). Watching this film might take some patience for American audiences, though patience pays off. It is a beautiful story that needs time to unfold properly. One final note: there is nothing offensive in this story, but if you have any animal loving children, they might want to skip portions of the banquet preparation (there was no "No animals were harmed in the making of this film" disclaimer at the end).

Big Fish. (2003). Directed by Tim Burton, who normally does very dark films such as Edward Scissorhands and the second Batman film. This film stays true to his fascination with grotesque visual images, but in a much lighter, more colorful, almost comforting way. It tells the story of a Will Bloom, a young man who only knew his father, Edward Bloom, through the tall tales he grew up with. His father is dying now, and Will wants to know the "truth" behind the tales. Ewan McGregor does a fine job portraying the young Edward Bloom, and Albert Finney is at his irrepressible best as the bombastic, magnetic older Edward Bloom (you can understand how this actor made his name as the lead in Tom Jones). It's a movie about finding meaning in the stories we tell, pass on, and live out. At the core, the movie tells us that myth is the stuff of life, what makes life livable (and Will Bloom admits as much at the end of the film). I found it very fun to watch (even the kids enjoyed it), and very touching. The only beef I have with the film is that for a man dying of cancer, Albert Finney looks way too well fed (my own Dad died of cancer, and he too was a larger-than-life type of character, so the film hit awfully close to home for me). Themes for discussion: What makes myths work? What makes us want to live? What makes life worth the living? And most importantly, what if a "myth" that held all your heart?s desires were literally true? (I've heard many Czechs say that the gospel simply sounds "too good to be true").

Bringing Out the Dead. (1999). Directed by one of America's best living directors, Martin Scorsese. Written by one of Hollywood's better screenwriters, Paul Schrader, who has worked with Scorsese on some of his best films including Taxi Driver and Raging Bull. Starring Nicholas Cage. A very energetic mix of black comedy and existential drama. Cage plays a restless paramedic who is having a hard time coping with the ever-present reality of death (he hasn't saved anyone's life in a long time). And it has a GREAT soundtrack (Van Morrison figures prominently in it). The film has a feel very like Scorsese's earlier work, Taxi Driver (in both films, driving around the streets of NYC are a symbol for a deeper rootlessness in the main character). A good film for discussing death, the search for salvation, and how the movie answers that quest (finding the right woman is the way to get saved). Well written and filmed. It does have some nasty language, violence and drug abuse scenes, so not for the kids.

Butterfly Effect. (2004). Co-written and co-directed by Eric Bress and J. Mackye Gruber. I can't say too much without spoiling the movie, but I'll tell you that teen-comedy heart-throb Ashton Kutcher (who actually does a credible job acting) plays a young man plagued by black-outs that happen at traumatic points in his childhood. I can't say much more than that, except that the movie has to do with how changing the past has unintended consequences in the future (like a butterfly flapping on one side of the world causing a hurricane on the other, as the title suggests). We're going to watch this one tonight (May 19th, 2005) for a movie night, and it should raise some good questions over the nature of evil (some of the traumatic events are just pure evil), the nature of destiny (if x happens in the past, must y happen in the future) versus God's control over history (even the details, like butterfly flaps), and the gravity of choices we make. Sorry. Can't say anything more. Except to warn you that there is some pretty vile swearing, and some sexual content (not too bad in that regard; the language is worse), so view at your own risk. Oh, and on the DVD there's a director's cut with a different, darker (and I've heard, more thought provoking) ending.

Capote. (2005). Philip Seymour Hoffman completely deserved his Oscar for best actor. He didn't just play Truman Capote. He became Capote. And I thought that Bennett Miller should have gotten more recognition for his direction. Capote is an adaptation Gerald Clarke's book about the writing of Capote's masterpiece, In Cold Blood (and it is an excellent screenplay that Daniel Futterman produces). In that work, Capote created a new genre of literature: the "true crime" novel (which is commonplace now). You get to follow Capote from his reading of a murder in Kansas through his research and writing, and the picture you get is stark. It is the portrait of man who will do anything to get the story, including lying, and you see it take its toll. You see the slow and painful process of moral disintegration. There is lots of opportunity to talk about integrity, what is the truth, what price is too high for success, things like that. An excellent movie, if somewhat harrowing at times. It does have some violent and disturbing images, so it's not for the kids.

Catch Me If You Can. (2002). One of the better movies Spielberg has made. Leonardo DiCapprio plays Frank Abignale, Jr. (whose autobiography was adapted for this film), a clever con-man; Tom Hanks plays his FBI pursuer/father figure. Themes include issues of belonging and family, identity (if you're a con man, who are you really? Who are any of us?), and the importance of finally resting in the truth. It's another one of those road journeys of self-discovery.

Contact. (1997). Directed by Robert Zemeckis (of Forrest Gump fame). Starring Jodie Foster. Good for discussing religion versus science (or better, science as religion). Other possible themes: why do we want to find extra-terrestrial life? Why do we long for something beyond us? A little preachy, but still interesting. This was Carl Sagan's swan-song ? it was adapted from his novel, though rumor has it that he didn?t care much for the script.

Crouching Tiger, Hidden Dragon. (2000). This film put Ang Lee in the world's spotlight. A beautifully shot film, with a very moving score performed by cellist Yoyo Ma. Stunning fight choreography, too. A chop-saki film with a deep story and a grand sense of style. Issues include what true freedom is (vs. rebellion), the consequences of rebelling against society, letting others teach you vs. being your own master, and the power of love. It's especially interested in how society constrains the freedom of women (unusual for a martial arts film).

The Decalogue. (1987). Decalogue, as in "Ten Commandments." No, not the Cecil B. DeMille production with Charlton Heston as Moses. I don't think that would work well for a movie night. No, I'm talking about the series of films late writer/director Krzysztof Kieslowski made for Polish television in the 80s (with co-writer Krzysztof Piesiewicz), each based on one of Ten Commandments. I've only seen the first three (they're a little hard to find, but they are newly available on DVD), and all three were close to perfect. (On imdb.com, the rating for this film is 9.3 out of 10, an unheard of score). In my opinion, he is the role-model for Christian filmmakers who want to say something without falling into cliché or hitting people over the head with their message. He delves deeply into the ambiguity and anguish of modern life. Any of these would be well worth discussing. Also, check out the article on Kieslowski in the March/April 2004 issue of Books and Culture (I think you can check it out online at www.booksandculture.com). We've just recently seen the fifth and sixth movie, which were also release independently as A Short Film About Killing, and A Short Film About Love. The film on killing was absolutely brutal, so be aware. The film about love, however, was unexpectedly tender and I loved it. We used it for a discussion on "Love, Sex and Relationship," and it really helped us get into this difficult subject. One of the things I like best about Kieslowski movies is that the characters you meet at the beginning of the movie are almost always very different than your expectations of them: they are always multi-layered and complex. So far the sixth film is my favorite of the series.

A follow-up note on my follow-upnote: I have since seen A Short Film About Love, and found that it is not simply a re-release of Dekalog 6, but rather is an extended treatment of it, and includes an extended ending. I found it to be a more satisfying movie. So if you're working your way through Dekalog, definitely track down and watch A Short Film About Love.

(Note on the follow-up follow-up note: I've since shown A Short Film About Love to my class on "Popular Culture and Christian Worldview" as the exemplar of a Christian film done well. That's how highly I regard the film. Kieslowski was an absolute genius and my favorite European film director by far.)

District 9. (2009). Directed and written by Neill Blomkamp (co-written by Teri Tatchell). The film was produced and marketed heavily by LOTR movie-industry god Peter Jackson. And you can see why he'd be so excited about it. Just as a pure sci-fi film, it boasts some of the more convincing cg effects I've seen, and at a fraction of the cost of more cg-bloat-fests such as Star Wars: Episode I -- The Phantom Menace (I still haven't forgiven that movie for giving us Jar-Jar).  And it is well-written characters (both human and non-human), a good plot, and, like the best science-fiction (heck, like the best movies, period), it is about much more than just its own story.  The film's title gives it away: a thinly-veiled reference to a mixed race neighborhood in Cape Town (District 6) which the South African apartheid government emptied of its black residents to make room for whites.  The film is thus an exploration of race and otherness, of distancing yourself from those you feel inferior, and then having that gap closed forcibly (I won't say how for fear of spoiling the film).  Sharlto Copley, a non-actor who stumbled into the role by being a friend of the director, does a masterful job at portraying the hapless Wikus, an official in charge of clearing the slum/holding camp District 9 of its alien inhabitants.  Along the way, he learns more than he wants to about the aliens (derisively referred to as "Prawns"), and about himself.  The film is a good entree into discussing what it is about people that deserves respect despite their differences from us (racial, ethnic, class or otherwise). My only reservations about the movie are: 1) Blomkamp is quite heavy-handed at times, so eager is he to get his message across; 2) the second half of the film descends into a shoot 'em up, very much like a first-person-shooter video game. Don't get me wrong: it's awesome when it does.  But it does mark a shift away from themes of the first act of the film.  A couple of more warnings: 1) the pace of the film is frenetic and tense throughout. A lot of hand-held faux documentary style camera work.  A lot of "embedded in combat" type scenes.  If you're not one for tense movies, you might want to skip this one.  2) There are scenes of graphic violence. This is not one for the kids, and even one of my movie-holic ex-students found it quite disturbing. So be warned.  Still, on balance, I'd say it's one of the most original science-fiction movies in years (the other was Moon; see below). In my opinion, despite its faults, it's a film worth seeing and talking about.

The Diving Bell and the Butterfly. (2007). Original title: Le Scaphandre et le Papillon. Directed by Julian Schnabel, and adapted by Ronald Harwood from the autobiographical book by Jean-Dominique Bauby (who is the main character in the film).  This is a disturbing, touching, and beautifully filmed work.  The story centers on Jean-Do who awakens to find himself paralyzed from a stroke, only able to move his eye.  Part of the reason the film is so good is that it is filled with his inner-voice that cannot speak aloud, a voice that is witty, cynical, lyrical, and humane.  We come to identify with him in his imprisonment in his own body (his "diving bell").  He finds respite in flights of imagination (his "butterfly") as he struggles to learn again how to communicate.  I'm not going to spoil anything, but when we did this for a movie night, we talked about the imagination, and what that meant about the human being.  How are we to explain the imagination in terms of a secular understanding of a human being?  There seems to be something more, something spiritual going on with Jean-Do, and with all of us.  This is a deeply moving film and deserves to be seen.  A word of caution: There is some nudity and disturbing images, so this movie is not for children.

Dogtown and Z Boys. (2001). Directed by Stacey Peralta (one of the skateboarders featured in the movie), and co-written by Peralta and Craig Stecyk, the writer for Skateboard magazine who brought the Dogtown aesthetic to the attention of the skateboarding youth in the U.S. The best documentary on a popular subculture that I've ever seen. This movie about the birth of the skater (in today's parlance, sk8r) subculture runs a bit long, but it's engrossing nonetheless. A very good diagnosis of youth culture as a subtle mix of inspiration (the attitudes of the skateboarders towards skating the perfect carve is almost religious), rebellion, community, technology, accident, and commerce. Plus, the soundtrack rocks.

Donny Darko. (2001). Richard Kelly wrote and directed what may be one of the strangest movies that we've ever done for a movie night (that may be why I waited five years and only showed it after a student of mine insisted). The story centers on a very bright but troubled young man from an affluent family (played to creepy perfection by Jake Gyllenhaal) and a strange figure in a demonic bunny mask named "Frank." The hardest task you'll face in this film is trying to figure out what in the world just happened, and to do that, you'll just have to watch the movie multiple times. Kelly has created a movie that is confusing in the extreme so that it can be read in many different ways, but he gives enough clues (or almost enough clues) to help you put together a fairly coherent story-line if you watch repeatedly and attentively enough. But that shouldn't scare you away, because the film really does reward your work with some fascinating and suggestive ideas about God, destiny, free will, evil; you know, light themes like those. Most of these themes surface during Donnie's frequent visits to his therapist (and indeed, Dr. Lillian Thurman seems to be the wisest and most sympathetic character in the movie). The real key to the movie, in my opinion, is when Donnie and Dr. Thurman discuss the existence of God. Donnie says he's stopped trying to figure it out because there isn't enough evidence either way. Then he says, "I just don't want to die alone." Dr. Thurman asks him if he believes in God, and Donnie responds, "Not if we all die alone." The central question that the movie answers, then, is this: Do we, in fact, all die alone? Or not? And that question is big enough and interesting enough to warrant a mess-with-your-mind type movie like this. This movie is an incredibly popular cult film just because it is challenging and it addresses a felt need of youth culture: loneliness. And I believe that the movie finally gives a fairly strong affirmation that we indeed do not die alone. In other words, for all its twisted imagery, violence, profanity, etc., it is at its core a strong affirmation of a God who really does care for us (even as he is menacingly different as well). A couple of recommendations: I've heard it said that the theatrical release is better than the director's cut, because in the director's cut, Kelly tries to provide too many answers (and so makes things too black and white, diminishing these deep themes that make the movie so interesting to begin with). Second, if, after your fifth viewing, you still can't make heads or tails out of the movie, then go to donniedarko.com and play their online game, which is loaded with more information that clarifies the storyline. But don't do this until you've seen the movie multiple times.  Once you go to the website, it will definitely color your interpretation of the movie. Maybe the most difficult movie you'll do, but we had an incredible discussion using this movie.

The Double Life of Veronique. (1991). Originally entitled La Double Vie de Veronique. Written and directed by the late, great Krzysztof Kieslowski, and co-written by Krzysztof Piesiewicz (the same incredible team that produced Dekalog, and the Tri-Color trilogy, Blue, White, and Red). It also features the haunting music of long-time Kieslowski collaborator Zbigniew Preisner; indeed, the music is almost a character in itself. But the real focus of the film is the expressive and beautiful actress, Irene Jacob, who won several awards for her portrayal of two women in two different countries whose lives are bound together and reflect each other's in subtle, almost imperceptible ways. This is considered by many to be Kieslowski's greatest movie, and it is as elegiac as it is difficult to comprehend. A few helpful hints for understanding this movie (as far as it can be understood) are: accept that it works according to a sort of dream-logic (so be on the lookout for symbolic connections), and watch it multiple times. Kieslowski packs so much meaning into this film, every detail, every nuance means something, and it is impossible to pick it all up on the first viewing. So far, I've seen it twice, and I saw far more the second time than the first (and I'm planning to watch it again and again, for I'm sure there's more there). 


A couple more clues. Warning: there are a few spoilers here. But in a movie this complex and difficult, I'm guessing that most won't mind a few spoilers. If you want to try to figure it out all by yourself, be my guest. Just skip the rest of this paragraph. The film looks at the parallel lives of two women. One is Polish, and one is French, and both are played by Jacob, so pay attention to what language she is speaking. The delicate interplay of similarities and differences between the two women's lives implicitly raises the question of, "Who is arranging things this way?" Which leads to another clue: Pay special attention to the character of Alexandre, the puppeteer. The puppet performance comes almost exactly in the middle of the film, and I think it is a metaphor for understanding the significance of the whole film. The puppeteer, in my view, is a metaphor for God, the one who controls all. Kieslowski was a Christian, and he often raises implicitly theological themes in his movies. Many dislike the metaphor of God as puppet-master because they believe it degrades humans and it makes God distant, cold, and unloving. But watch the puppet performance in the film. Consider the grace and elegance and passionate involvement of Alexandre with his puppets during the puppet show. Here is a master-performer who is lovingly engaged with his creations as he is making them move, giving them life. And consider, too, that for much of the rest of the film, Alexandre pursues Veronique and overcomes her aching loneliness. At the end of the film, he even tells her a story that explains the mystery of her life to her and helps her understand her sorrow. He gives her meaning. So I think that he film is, ultimately, a poem about this God who controls all, arranges things according to his mysterious purposes, but loves and pursues his creatures with passion. In the end, the film unveils a deeply Christian way of looking at God and the world.

There are other themes in the film: the mystery of human connection (including sexual connection), how we enter into another's world, isolation, how our passions can undo us. Each one is worth exploring in more depth. This is truly a masterpiece of the cinematic art.

However, be advised that this film does have nudity and some fairly strong sexual content. I don't think it's exploitative. As in all of Kieslowski?s movies, sex usually points to a deeper meaning. But if you (or your movie night guests) have problems with nudity or sexual content, you might want to skip it. On the other hand, if you don't, then this is a truly, truly worthwhile movie.

Drunken Master. (1978). An early Jackie Chan movie directed by Woo-Ping Yuen (who would later go on to do the fight choreography for Tarantino's Kill Bill movies and for Matrix Reloaded). Not particularly deep, bad dubbing, clumsy cinematography, a laughable story, but stunning fight scenes. All the things that make chop-saki movies so endearing. Issues to discuss include the father/son relationship (for the Chinese, being a good son is something you have to earn or be rejected by your father, vs. adoption based on grace in Christianity), honor, teachableness, revenge (and why we find revenge so darn satisfying to watch).

East of Eden. (1955). Elia Kazan's masterful adaptation of John Steinbeck's book. James Dean gives his strongest performance of his tragically short career with his portrayal of Cal Trask, the screw-up son of upright, gody citizen Adam Trask. Always outshone by his brother Aron, Cal does what he feels he must to win his father's love.  He also is obsessed with who he is, and tries to track down the whereabouts of his vanished mother.  Add in a love triangle between Cal, Aron and Aron's finance, Abra, and you've got all the elements of a poweder-keg. Dean pulls out all the stops to show Cal as vulnerable, passionate, sneering, hurt, and deeply human.  But it is the ending of the film that is really worthy of discussion. I can't give details here, but the last scene is where you really could talk about what grace means, what being godly and good really means. Kazan's and Dean's strongest film, and a breathtaking achievement.

ENRON: Smartest Guys in the Room. (2005). Written and directed by Alex Gibney, and co-written by Peter Elkind and Bethany McClean. How does a company that was supposedly worth $80 billion go bankrupt in a matter of weeks.  Answer: It was actually worth negative 30 billion.  This documentary about the biggest single financial scandal in the history of the U.S. is fascinating to watch.  It can be a little heavy-handed at times: Bush and deregulation are the root of all evil.  Or almost.  The film is well put together: It begins with a dramatization of a suicide of an ENRON exec, and it just doesn't let up the pace.  But what made this film fascinating for me was how it explored the question of collective evil by citing an experiment done in the 1950s which sought to answer the question: Are some people simply more evil than the rest of us, or will a normal person commit evil given the right circumstances.  Guess what the answer is.  It is chilling footage, but it gives the film a wider moral application than simply "It's all the fault of those corporate greedheads."  Another surprise from the film: ENRON's demise wasn't necessarily brought about by greed, but by hubris, arrogance, and a willingness to bend the truth to maintain an image.  The conclusion: Anyone in the room could be Jeff Skilling.  Not that Bush and deregulation didn't contribute, but anyone potentially could be "the smartest guy in the room."  Well worth watching.

Eternal Sunshine of the Spotless Mind. (2004). Another truly strange offering from Hollywood's oddest screenwriter, Charlie Kaufman (though he co-wrote the story with the director Michel Gondry and Pierre Bismuth: a "French connection"?). Anyway, this was one of our most popular movie night movie: we had 33 students show up. People were sitting everywhere (floor, window sills, etc.). And most stayed for the discussion, which was one of the more interesting that we've had. This is Charlie Kaufman's take on the romantic comedy, but it has far more significance than your usual Nora Ephron (When Harry Met Sally, Sleepless in Seattle, etc.) fluff. It's really a movie about love, memory and forgiveness. I don?t think it will give too much away to say that the premise includes a procedure to erase painful memories of failed relationships from your mind (that much is plain from the trailer). The movie has a wonderfully disjointed quality, mimicking the way memories form a seemingly random chain. The things we discussed were how Kaufman explodes the "ideology of romance" (that is, find true love and life will have meaning, things will be good, etc.) by showing that real people are pretty messed up. We also talked about how having things erased from your brain has striking parallels with the Christian understanding of forgiveness (with some differences to be sure). Anyway, if you?re not too offended by the language or the sexual stuff (no nudity, but some sex scenes), I would highly recommend this movie. It is, in the end, about accepting one another, sins and all (a redemption of sorts).

The Fantastic Mr. Fox. (2009). Directed by the ever-weird Wes Anderson and adapted from the Roald Dahl book by Anderson and Noah Baumbach (who has made a career out of scripts displaying emotionally awkward characters). The plot has to do with Mr. Fox, by nature a chicken-stealing predator, but who promises his wife that he'll find a new line of work. Without giving too much away, let's say that he falls of the wagon (but he does it with elegance and panache). Meanwhile, his son Ash is dealing with insecurities stemming from adolescence and a visit from his uber-skilled cousin, Kristofferson. Through Fox's predations, the animals find themselves in an all-out war with three nasty farmers, Boggus, Bunce and Bean. Hilarity ensues. Well, not hilarity, but much bemusement. Wes Anderson has a way of laying out ridiculous situations and making you take them seriously (or, vice-versa, of taking serious moments and making you take them lightly). It's a very postmodern approach to cinema: call it the absurdly humorous gravity perspective. And the themes he investigates in this way are primal. Fox asks his animal friends (dressed in suits and ties, a la any good English children's story), "Who are we? We are animals." It is in their animal natures that they find their genius, and the thing that gets them into trouble (at least for Fox). As for us humans, who are we? The farmers are more animalistic in their hatred than the animals. Are we civilized beings, or animals? What should we try to emulate. Anderson gives no straightforward answers. Another theme he explores has to do with self-image. Ash is unsure of himself, feels unpopular and unaccepted. And it takes him a long while, and the encouragement of his parents, before he accepts that he is . . . different. And it is precisely in our differences that we find our strength as a community. Being open to difference, rather than trying to force others (or ourselves) into preconceived molds, is as close to a moral as you get in the film. And it's a good one: we ought to be open to each other in just that way, to value each other. But based upon what? And what differences are good ones? That's area you can explore in an after-movie discussion. The movie itself is a lot of fun, not least of which is because it isn't computer-generated. It is about little furry puppet stop-action animation (you can actually see the fur move where they had to be touched to move them). It gives the film a warm, tactile nature that I love. And the voice talent is top-notch (George Clooney, Meryl Streep, Jason Schwartzman, Willem Dafoe, Bill Murray, and plenty others. Highly recommended, even for kids. The violence is very cartoon, and instead of actually swearing, the characters say "cuss" a lot (as in "What the cuss is going here?" -- it's a great device).

Frost/Nixon. (2008). Directed by Ron Howard (yes, Richie Cunningham from Happy Days). Screenplay by Peter Morgan, adapting his own stage play.  The story involves how David Frost landed and conducted a most riveting and revealing interview with the recently resigned Richard Nixon.  The movie is well scripted, and the performances are powerful.  Michael Sheen (who played Tony Blair in The Queen) turns in a shrew and heartfelt performance as British talk-show host Frost, and Frank Langella is absolutely magnetic as Nixon.  The supporting cast, especially Sam Rockwell, is just as fine.  When we discussed it, we circled around two topics.  First, both Frost and Nixon are portrayed as driven men, driven by their own insecurities, their own feelings of inadequacy.  Is that a good way to live?  What do we need to tell us that we are OK?  (You can be as explicit with the gospel as you feel is appropriate here).  Second, the most interesting character development was the way Nixon changed from a political machine, adept at spin and subterfuge, into a truly sympathetic human being.  And the catalyst was confession, when he dropped pretenses and said, "Yes, I've done wrong.  It's my fault."  That is the moment the whole movie is driving for, and it is stunning when it happens (sorry for the spoiler, but since it happened in the historical interviews, it's not too much of a give away).  We discussed what it is about confession that makes us more human, about vulnerability, about forgiveness.  A really great movie to watch and discuss.  Be warned that the language can become pretty vulgar at times, but otherwise, it's not offensive.

Galaxy Quest. (1999). Directed by Dean Parisot. My kids lassoed me into watching this as a dumb movie that's safe for the kids (and, having seen the trailer, I dismissed it as a dumb spoof). A spoof it is, but a very smart (and funny) one at that: one of the most underrated films of recent years. It's about the washed up cast of a cancelled TV sci-fi show (like, say STAR TREK?) who make ends meet by doing fan conventions for completely devoted fans (like, say, the fans of STAR TREK?). The show pokes fun at the fans, the cast, the whole scene (without being mean-spirited). And then the egocentric star of the show (played very well by Tim Allen) gets swept into a real inter-galactic drama, taking his crew with him. Somewhere in the middle of the film, it stops being spoof and does a good job turning into serious sci-fi action film (better than most of the Star Trek movies, in my opinion). But what makes this a good movie night movie is the way the film explores what makes popular culture work as projections of meaning and desire for its fans; that is, what makes popular culture worth taking seriously. The film does an excellent job showing why Trekkers are so engaged with the show: because they want that sense of being part of something larger, an adventure in which their lives mean something, where they can make a difference, etc. (and isn't that what Christ invites us to in living for his Kingdom?).  Update: I'm now teaching a course on "Understanding Media Fandom," and the more I learn about the dynamics of fandom, the more I appreciate this movie. Fandom at its heart is about a wish for redemption (from the mundane, more than anything else).  In this sense, fandom is religion, and this movie touches upon that.

Garden State. (2004). Directed, written and starring Zach Braff (who you might know from the TV show Scrubs). Every so often, a movie comes along that really captures the Zeitgeist for a generation (see also Donny Darko, above). For the college crowd, at least in America, this is it. Braff plays Andrew Largeman, the sedate (and sedated) son of a prominent psychiatrist, who returns home from the West Coast to his hometown in New Jersey for his mother's funeral. In so doing, he deliberately leaves his meds in California. And really, the whole film is about his awakening from numbness, with the help of Sam (played by Natalie Portman) who becomes his girlfriend and draws him out of himself. It's not a perfect movie by any stretch of the imagination: Sam's character development stops about halfway through the film (because the story is focused on Andrew); and there is almost a criminal underutilization of Sir Ian Holm as Andrew?s father (honestly, Ian Holm could have sleepwalked through his part: he wasn't given that much material to work with). But there are interesting themes to talk about, such as father-son relationships. And, most interestingly from a Christian standpoint, the contrast between the Largeman family (where everything is controlled and sedate) and Sam's family (which is scruffy, disorderly, inclusive, everyone who walks in is embraced). We talked about which the Church should be, and has been. Plus, the soundtrack rocks. A good movie night movie.

Ghost Dog: The Way of the Samurai. (1999). Written and directed by maverick filmmaker Jim Jaramusch. I didn't care for the other Jaramusch film I saw, Dead Man, just because it seemed that it took nothing seriously -- not even death. Not the case here. Forest Whitaker plays the title character, a black assassin working for the Mob who fashions his life as a latter day samurai. This movie is great for discussing Zen philosophy, because the film is interrupted by quotations of samurai philosophy which embody the spirit of Zen (the unity and emptiness of all things, living in the moment, prepared for action, resolution, etc.). One of the themes we discussed was how the film shows both the power and the problem with Zen -- that is, if all is one, then murder is not evil (since good and evil are one). Despite its power (and Forest displays a real peace and self-possessed coolness throughout the film), Zen cannot guide us into what is good or right, but only into a sort of bankrupt pragmatism: how to achieve our aims with elegance and directness.

Gladiator. (2000). Very violent, stunning cinematography and fight choreography. One of Ridley Scott's strongest pieces to date. It's not really about fighting as much as it is about life after death. It also raises some interesting questions about mass entertainment as mob manipulation (that's what the gladiatorial arena was all about). Strong performance by Russel Crowe as the outcast gladiator, Maximus. But beware -- it's a long movie. When we showed it, I didn't leave enough time for discussion because we started the film too late (and everyone had to catch a tram, etc.).

Good Bye Lenin. (2003). Directed and co-written by Wolfgang Becker. I really liked this movie. It had nice cinematography, well acted, well-scripted, and raised some interesting, substantive questions about reality. In short, all the ingredients for a movie-night movie. It deal with an East German young man named Alex whose mother lapses into a coma just before the fall of the Berlin wall in 1989. After she awakens, the doctor advises that another shock could kill her, so Alex tries his best to keep everything the same, to sustain the illusion of the old East German world around her. When we saw this movie, we talked about lying and truth-telling. Are there times when it's better to lie? Is all of reality simply something we make up (the movie hints strongly in that direction). Perhaps the best thing this movie did for me was help me understand people who are nostalgic for the communist past of their countries (we have plenty of them here in the Czech Republic). It was a time of oppression, but also a time of security and community that is rapidly being eroded by global capitalism and the drive to earn and spend as fast as you can. Anyway, a good movie well worth checking out. And I loved the haunting piano score by Yann Tiersen.

Good Night, and Good Luck. (2005) Directed and co-written by George Clooney (with Grant Heslov). Clooney's proving to be one of the most versatile people in Hollywood (along with Clint Eastwood). This movie, shot entirely in black and white, follows the career of acclaimed journalist Edward R. Murrow during the McCarthy hearings. Murrow was the first to take on McCarthy?s tactics of intimidation and black-listing in the name of patriotism. The movie is erudite, sophisticated, and completely engrossing. And David Strathairn really does inhabit the character of Murrow. It is a portrait of journalistic integrity, and we talked quite a while about the state of journalism in the Czech Republic (where we live) and in America. At the beginning of the film, Murrow also makes dire predictions about how television will affect society unless those in charge of the medium take care to use it wisely. So there is also material to talk about what does it mean to make good television (rather than assuming that television is bad just because it is television)? Interestingly, there is no soundtrack, except for segue pieces using the great jazz singer Diane Reeves, who appears in the film in one of CBS? sound recording booths. If you listen, the songs serve as wry commentary on the plot-line. An all-around excellent film.

Gosford Park. (2001). Acclaimed American director Robert Altman's take on the murder mystery genre features a fine ensemble cast and explores such themes as class differences (with a very decided leaning tocwe who are->Gladbu mte after deatbu mtevincxcey)ge (and wuppetee befo-n's sonship (for thend aga a loto be the etty moas in in, in my o let up it?)t is stunthe question of, "W:t a go Kaufinterviue pter -th Clby Geof di?ovie re thlute geniuslngs. Mt-akinriouslithouho are->Gthe film, h The re>The Faneslo Tn moo/i>(2003). Dir8ney'stwood). Thising outeen. Plus,ed D crew wiing t projecte playlly sorrectness. (20Bit is tfilm, hr, vise can beay it's on childres (and,
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Good ByKftche. (2009). Dir3)y Origienceharac, Slema rfra kjokkon t saytards pffeilSam's coodPsarecee West CoKftche.Every s and directed by mavericBmob Hork.ompleteln by George JörgeorBmaim> STARGSwed othfangesprily bt sf Aperforo ng foquestiongns black-latelie. http://rmdbd pl/harac/tt0323872/bo Me/ Ian/22767344g Yin aayoenty oucy ndstftee show: beipe it thasraffst, Iafte(has fangell, ,mtalkecohinestmodeee atr us atheusis it. Bra night, is . outnopobs of meory, , you m,aa somes ubeteresn, the cy( about filaon, thororit waSwedothw has Ienessos faraath. are-of abotnionnd, hnd disithe perforythe hauff p Charlieere?" is fim b gp 10ef mogur

Galaxy La Vny sn Rof a >(2004). Dir7tr uime ightt ndeDout haPabut ad evLer dfilEd shoPiaf,999).fans; torigienceconnectharac, xy La Merea >(20 ander/r Robert Olld e Reahans fairlynyationjour Matcreh billt of journalw: bquiyouelnccoultconnectessihanteuf a >(20Ithey s,bkple more I episodwosh Luers say "cu(furry pEd shing tondetutdeslso n th lapses)r h taho Rocl aboutso dStectthawho wardsn eocietyt f can . Anyeres e ights it. nurry prold ar show: bbiioalent perfitaBuc commitIn shoAnd the catMaci-Aro tectarehethe mort."&nvo And connect' srene oth fairlynyhmho bglances are poAnd theo tectare)undeehew), I w by show: bbeheir counml is n i thhat much Rbut o l to tal The movie is wellhime gth th feel tot the ay, generativice)commit e otut). some?s mly,oto daebyopo da;t filtonruof CBSt's nothe themes foqtlapif>STARG,n myto gPiaf'wi wfrmati orr I'Note Js, wgattdirRien" (Noisy ligattg seriouthere at the cyado ftinoctuallses ier ,n. Anigo r is n iea movieesswe try >(2ligatt,kehean asligattgid movifteos pupp.rehundeucitaaluatdef eleviith sloreown edynsecurebout eydsdinon't,e tellionsi bh i,d srychwartRobard thg cinematmutothces middle of the filessMagtotiaust benerR. MurrNmrtoe onsotiloquy middle ofrror the McCess25curHourEvery In this isten,enty ajazcep what theess tocuss with opinteresfalf-befleresolutgie is grea to bdxcellennJasompletelntoo, same, t wonlmveeu queity sgattisNchildren's sr songse fil(nes ie can beaybr />
Golaxy Levlt(2007). Ori3ten ander/r Robert Ed Sothmute wiseu urthy of s embrfilm (/cout i,eaturss(bs< Kaufma'son gelothMrnlywoBskan, Bect snd Ted thBhces Jsm ieyurns inm a lw withafarin decided ces to tion). Perh. QueLevlt(20id monemalyf hot,knemalyf , and rm s teitygu>lt snd ness.  BecticBobvieoretotl real pemyster aslileon whs ubepMy kn to force oyeres e dermotb in hits, e, ufteniedelntcor ery good diquietwae, dly- We taight, fuDe Berming character develogest uggth insecuring ilse).&s ubelld hisb foqtr som force oyevs, onrmi w -ss of allge (pabouofanigrfefwillingfor its fan (and wabout thn unu urtG,n mytoe rapidtt,ea the Chrs seit pthe firteresr Robele n, and usse she is st of the ihat wewve sl(eath. actthawhom iller of Murrlie ex wh"ManbeleJorian"?)d movie night mcussion becausa
Gosfordm doLer dAquat (2009). Directe and directed by mavericthe more inw(i, r s topslywood (along SWrson has a (Noah Baumho h e the story wi, and).SWrson has a e adghtt mother'bffbz sicout t weDouaushtereEvere perbs(20listen, ts movia motwy f recasnot oneere?" uss wjoyrbs(20Bas fange childree had to (t."wer ,nCarolynas fanen muleave eni tes the colen mufarid mostmodethemodwrnit stopsronreruh $ nineforgi do ftiarly I'ebfilm, hlexa s; alf,about thtate of mf secuasu taleens,ufor ery on McCae I emobout mexe ande, ey -- not (orst in Amersemi-ey -- not)is Chnkhe Wma 99ilndedinon't,eant toight whapich matee cassu p our isfange chiomt ofasithen the eaf being po gra p meod diquirkn tCarolynuleave ethe pte this moviepo gra,about tI p medy hisla fim aheSo, fororit filmfueise:oterod usesp;Rocmidhe greatif the ara night, ovie.<(buare feelviepoean, tea wfrniuslngere?" ussis tel!)tory centersrehow Davaxcelleas, e,-tif- tsecuim Jarfirocee , wellG,n mytcirculolvly,rcelles ithe firson reh evil are(for th thiebs res mob ingaCrds, forisis i talk ther h t oftenuggcharry beiin dean understroundth thu youxtof acommitIn, b Chnkh( fan (e fi;ech mateuserem illobn bresun iate toy sweariG fur movZen c love. thendarkrlieatsymbols fanpupp(trolyoyenerm on chitithe)d lisIis onomethily. Slla wfrniuslnges (whnderf ythin weFuomheromethit ireimalsfune firs I woshey can mcth tened bsa med cibriGtiot
Good ByLsohitthMr/i>(2001). Acc4) Origienceharac, Cry osun tIsh is d by Stacey Ag wosJaouiis Charlieatully disjbnurry pconnectcout i/drhmhareatsistarosto tenan namrold arblelie forp; gar (hn unp; gar rold aoutcaste ae his night,? *Gasp!*) Good ByLsre film, hRurro/i>(2001). Accl-Directed and co-r Mo orodChan a . Leangelaappeneevelvice) in my oo a tnicthe more ianlieough (anohis Kinatid for mn becausenut osoYt,eant to die alo, thofois et do byfi e hade sp'sThis oell by ilmI laltiphe but othere a. Anyee sleepwalvice) mn because,rcellecld, movie is great fculd kfuDe Beran undd,igfine,erhe quens about realityract pthiurnale one)thtos about,realitydld ntiyevs,uancar ("h their lre. , . Ani inttee ta.rehdry t thhe chaFrodo,"is os G pealf middle ofnhe firMrenae.lm ireimals.eriandals,>STARGSved d Cryi c movRethie old EasKe chafehe car th thi ftinolebfilm, h-sould,ovie nll susie on,lw: bqu aboutm he feelfoquebeyonaunte iroundd mobunr. Bhono nudterolvepteresey -- not ythinsw)aes peardthairem s tg Yin uee sl includefinds seit pthe d besomt ofasiwae, drdcht pomodwrniy anorroggel isfinddoeare preflock e ot rece father-nte ieryonfange chicause it is tfilm, huweteresfy Sam eociets)?
Golaxy Leresti TffeilSam's/b>(2007). Ori3tenSichcdeaoppola Golaxy A Le hESohis KinBobbyrLsp; >(2004). Directed, writt-writ , and rmlie.hrwohe G bel politicdtveler MR(find Evs,uttuCop, moAnan namrold a ex whPurs's by NatalieSc rttttueinfei a )crethieun IsNew Orlectgeafaroory iIt aluallses lapses h a Amernai fuseis scrus, hlepite the chhd stre on phe filses lapses thtefffnd drst fo- crowd, childre wi thaod BobbyrLsp;s by NatalieeinbeTffvoltae wisedoes incslly suw egohurlaw upto)t is stif fo-s show pLawfonaPfnhe (by Nata Tim AllG bnd t aer.t)movie is great ,hely, a pgnth,ghtingwhichwae, dr fildysfunrp (fineKinarly I'am CBSt,ncsll to bdxtwutmaining st mnd emf you (ie materiaying an she is perm withshorWe(aaccew ,edoes inothe themes hes m> < realityBobbyrLsp;ss;ech mahso matew os quoano sca brg irllywo Andsoni. ifgs.r mornorm withshaa somes ubeapses are pr thecods a portraeriaying a fildt ofuvil bycent ass a cameras)underst(e plaLawfona perBobbyrtalgioutlyfr, tfasignedrunpt is sBobby'ts, e,iy surtGes tpadxceruofeteniedtl ha thi ftire boufilm,a moftire ha)movifind trviep"BigeEl y" onderfeto nce movihie rious ferlse).&p; gar n e,ywe saw thiome vie, we talked e cienll byati bein mn because,ghtinehean asunactforwohe y surtGll, its ime ofvie nm wag Yin aayo muc die alo McCaaic utem toocisn red e terso da time onrming charact mn becausongse fid mthis was in one onderf upthrack rocks. (huy,rfangeNew Orlectgeeve ht gee slies foreepwaarcousihrack rocks.)tory ce, and> Gthelkbe areatry poness.&ory, waelymoAndoes invie night mcussion becahisuohips. And, a
Good ByMagtotia/i>(1999). WrittenOhe mort."und secu&nvo Andsen ander/r Robert Paelvieomason has a fac, ivep wa, to much It bersoxyal co, drentet wehat dore bou ther h tming twwohe (axcelleasTV gex -l as eruh wh"Ws itDabske->Know?")tory centerst hely, a pgnshat do ftinavrg irBerlin lauseis smes hopts fan (dss of's/sAtully disjbe cast and expsecurpubeCruose mf i c i. A copet-I? seen. This oetme byfi chwartRobard thene inolebhe acceptsdihe (heh fairl the Tstape (ances are pbfilm, h-ahe)d lo dis fihe fat with insecurlin laus(aness. thunr, ai Johs ohe hEptio thoBhoopesforgpace.&no mainoon't,rralyzhe oor our(eens ttfaura mf, I wd the Largwofer develog, Jis a thCl,ufoae ousod Polvlynda bu steme ieostmodet ot)isADe Berlins tming lednwritt-entet ween (tlhe wh are->dxcpairtun iat ferlse).&s(sorry (tter a,y, vioeos pup'upetativu mi-nw has Ieant to die alonythinm inight, f movie)d molrThurmat,atingns). The f y, f mewut fi:rfangenohis(hat do3gevurs)t is spubeCruose'sPar,of Murru queteresinth di ly orfrnd bean she is (b shoudireor I'mg.


Good ByMfnstilm inMoon/i>(1999). WrittenCzecisimmigra mer Robert Mi,oneFs arehis film fabinbsp he imagiis omoosneryonfn omoos) n directoaout tan nndyb (thoug da time ting to watcoe rapi (thoughp me thequiyouelnccoultethemodwrnioug:ydtratory, m withsh,fr, tfasignear,ombste nosat giv,is scru det'she historone forroded tnic"cus oetm" left the souJis CZac yhp mecausebutg Media .lm ireiounx sce but sil are(discusjbn can beayo a stect snvie night a
Gosfordm doMfnsWe(aWmea't m ire/i>(2003). DirlaimJoessing EythinCoudirbroor ourd ot ree fir BecticBobvieoretotl real p oell bmdvier, a blae nosnpopul Popbin,bybll ha(symbolings,bybm fabat talwingnderf arb b)d He eruhsoise i> Good ByMf(2003). Dir3)y goniery fr a blaes shmam-lnalon-sp; nlywor Robert Ridtt's stro.e ichou s CZbece aa geniuslngionsi bh i ndernrobs s be-ely uld bealon-sp; nosyout s mother't offeris (whichonA/son relda fiteraachip (for thhetmthenrg(p thur Matcee sl to bdxtming characteons ouSam's,ei. A copet-m, mtocwe wofno mainptio leepam's,eleteoippth in th/ligattg after delauseptio l, its hnddhe hEing opesforg't,rralyzhe achip (for tw
Good ByMf(2003). WrittenD by Woo-talkeey George nndybtalkLt SalWer. grea. movvice)lexa isll b,ill byamerothw e(di feele is v , doesrhe quevie nns about realityract pthiurnalreIn shiaNea j ran undd,igfiniald isteant todoeatif the anyan ancause it is tare pretty in bdiivent is,oanswersare preeepwaler,y,ts,oanswersKieslowhe souIeenty lucerescoy engrossionnnecanhhd str movifil d (along e top film toWer. grearbroor ourhe QueRelos fda >(20luleave eo, drbapses h a furMf(2. QueA swearihuIeenty t happler,y >(2Reveniuout t besnd nffekrihuIeimea't ,oanime andhd str,tseite: /b>(2
The DouMThurrwaDatorrl dgro/b>(2007). Ori0cted by SletWis Wto r'boterol mob iveace, andkeey George U2 thBhnolh ery help nlywo ichou s Kli> );eo, drso,hBhnory po i lie? Charllst of the)upvery pood diquirkns anb in termrithe h-entersh Lumystery genl byahe pmorrotyracte wh-aedr witat lerhe L.Aowhe souMessGibsotl real pedetevil by nory porrossd the Larean giBondn perJo pcoiuraiotldruinh(orst in Amerotl r Icousihs):all by TiMeheSeres lpthe win mn becata Trfilm faf being pst mnd emp the LaraDe Berlins tp soned-pacare prenIdream-le metractanould)ne whopffeies a bgland Foivelmory performcru e sambysteneitygu>lt
Golaxy MThurrwaDatorrlBaby >(2004). DirecteCline El along onderren, whndethe mos d (along?sersati despitedor RobertlowHiboterol mob ivePaelvHaggis'wiay by Pet winhton of John Ste on phe fil hort-entet wepolitic Andersoex-box> dxcpitere I indld dulkntegribmob ivet por, turk.w comur Goe Dout haMidevlurMfk: /b>(2007). Ori0cted tokvHaysaking StaBuslaveSekolmoeenty d by maveraI beheiton of John St ftirer dfilJesusier seen. This oonit stopryonfangedgs,cPet(you ca(orst in Amerpuppet-on (you c)!ovie is great frem rkory, wdres (aqus ihem heractmn (you ca(. Anooonenessepich maie?stmn (yoed), wdres (amingustgo tiis tfilm, hbihererutl to talsas fans; thaithfle, ssgio. theoext (exr segwdres (au ste10iy aond>STARG,n myte scrutrt we'oes whastianity)ngeSved d Cryi c eoleRocmiddermotBerlin lrelnccean understanould)erFitakeifferoalent s top inghe fi c Ralp prienBSt,nSir Iawood topryonWThurmm Hurt)y good distarotrwo> Unnestuneaves, A it deg love. tit al to a availory, midPAL seemapieansnnZthe 2 DVDhan tuntall ten,enty ajlalti-sgenlm bdxocferhthi by NarsKinatlalti-zthe DVD-by Nars(very dePAL IsNTSC pffeilSaor)asnot oneere?" ussenty o(at le why Tre tit In thisxy Lablaeno e: Afaroo sr phiatif warm,us o Largen it pershhy Tree a momy "Cly araxive R, and t;"eiffero(al fr unSunsh bill momste cthiforginb ftirer dfilJesus),ier seyeres e furkple more I es at t hortcryi cshem doiigecheir cheir lrs gira a theand:. theploreomettvlynda bbthe stoweehdry t thCsould,owe tell chitispiteme crethiedfilJesushi it is t i the Chrusl)lerodydingaractanould) The movieatry popae scvie agurdnr aen-spfilm, hbihererutl to talembrfdscinaehat oor oeise,eateieat m despitssttoAnd the tureJesusiits,the besteresamiigu- nlis awakBrage pbolebacultd ntiM s ah ythinsw)le cgs youy oo a l'ineess tocusslepich maentiylidp, t happen'bouis IstocenddonizeeJesus'liing. shoAnd theJeuse i fwa I isfange chia comcietyhe pub>(2 Gaod ByMobl.s>(2003). DirttenDunrhinJrnpowee stoected by maveragras m-budoeegoci-fi,eam/s Charliet versatiorigienceto daefirs or eryl aboutce oyeresouarin de, iadest in Ame.l. Galaxy Moblelie. Good ByMyoLer d giving Me> (2009). Dir3)y d and co-r MIs bel Coixetis Charlieatll byapmalsiThe f ttot the ay, giar abo hoteins bdxo,is scru fairl the Twellhsteresimut tahisttall peleviis (eeltory ce fila moviebelovinh ot.Gthelkwve slht k from .ynngtllst?s Charehve slbfiaovie nonthe voiiar abo isfd e cienivice)ion becausa
GosfordMyiedy,Riafte>(2003). Dir3)y d and co-r MCline El alongdapted by RonalieBrerstHelgelsnd nfmundanedtveler MDenBharLefroeteCline El along,s omoosn mother'bolebacud ahemHarersh tens, w Foivet rece. Am, h70scsnd 80s,ed by maveahts ogasiwaod dismoboutruh $ nw disjby any tooceut filaoon phe filOsreysgwdres (ay sor gatow Dd.u Ascelles in Chai charaebe cast anmf i cy performcork.akf sueim oftell byfinwabout tuelnccoulvie amystery genl bhan tI' meweyr much dnythinm away, l ire/iSu, I'ebe a mot he fa adi athioyh evifnd drsarbleg heaupp waautIrldrenelieboeh eviywoBostotin(JimubhaDa hEing Sele)lespiim, feere bouming twwohe byolly edy:cthe more ianime obducoriven ayn's sdapted Crds, e isiecahisthe morse, ers sr spory feere bouhdry tocCnecided ces to tipaehah(onery porop,d Crds, e inal un be there awove. Aniut how havtChares anlie filod di ure poiiar aboiins; tterol mob ivee one)performc(foens e pe ivee on. E onesreysghnddhis mhed,f imy oo a ier. d,f imortraeriay d,f imizes h a ferenrg he.lm ireimalsnormnnocow u, to a achip veRocminocow . R, and tl real pevicibreirolich ttChares a, t happwdreJimubaractaaehelech-sould Brafmt ofasiwadxcpiterkBrage pndaly of iviue airy cr betwlens aboutawdres (aes a, t sonia: Hfildoew wes tpernngttasx? Hfildoew w muclepiise itereshmcoge?em dofee quers girlSav film in onensw)aesubpfun,gatow ahisSele is stif f offeris wer :ew wteuseness.&nhen Crds, , I wd fa aea aa geniuslngmvinet Goe DouNapelerwaDynamite >(2004). DirecteOofa at? Aat imalkdw aMs aoirbroor our ex whJaroo-talkJarundatHessd th love. tariyee sl Char porom oraneariG uthasrresscout i,love.leav?oreepwaatch xhoe is vc ,m mog, the chen the eed celkbyrcreh btaleensully disjgnsbizZac ound oldNapelerwaDynamite, onrmith di ly ihionyithatG,n myto gnytks,ebybinan na. Tioy IsNapelerw: "HeedNapelerwre fee oneht kgoinaodoeaoday?"dNapelerwa desodrst "Ws ien. TI npop ay, gI p nnaodo.hGvsh!"e perforn wm, tfPolvlystr mrhy Trea ld anmf ionit gfinodo mewihow ery ailengt. Bhonorforgi do ftibn lwspiowgtalke.

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Goe DouOsreybtalkLu'apea. >(2004). 1997)y d and co-r MGThurmaiArmnn pie dColveBsk8rheto perRalp prienBStGtheSTARG,n myne who-sould Braaytardsvie a PopenesmOsrey)ne whomtocwe wofnIt alu(norbya/p> Goe DouP tev, Texas. >(2004). 1984)y d and co-r MWis Wto r;,mtalksay by Pet lie. rved maboyou casecurlia moten,enty soutmovie is greaonderfll byatelberjour We love.kect requirurkple pyoux ery(lly Sam Rocnesmn directo,ufor ersr nostalgosreepyepfunsy ilm athtate ofpebdiivereybcdon othere a. Ar pyoux erykect hedmewutd ttua of fun,surfaerce. Am, hu ste15-20smwoute>STARG,n my. Paysfy Sam atarnboutce ory isaenv film in"mee onhe b"e perlly Sam RoctoovifilWto r;ru queofrrorsghnddgfferoe omMcCaenhrytes aninemovifinsaenv al walingaractu youxtSTARGreheir counG,n my) uallty).&ht kp topy alo Mt, such :gfor itshe aclednwri, e th,ie on,leim dcassioft wivin. OK,iene filees,r us someTARG,n mytdanvefMcCa recep waautedcomnhe bhit ireiounx sce but sw has foray, lendf childrenohiolm ireioun.erian scen can beayo a eor I'mfange chill by bcyairy t lpthe ,ea okvery done mucldren's sr sont, Iaft/in ?ieaoll actres we talkedh watchinlin secd
Goei>Goe DouPi. >(2004). 1998cte and direed by mavericDZac aiAronofskhonA/song to watcoedyl toducoausoes aes sta byRocmid d whitalke steshwish fk rThurmattl thtl tI'amte(Max)arblelieionsi b it tookaDe Berlin pyoSunsce. Am, h ound ( theentwhim rke as fansnsouofa))understs whasthd stre ip;letl thtl tI'ajbldrmnord He geis mixndratnsecureablkntegriJewfaf archihis Kindaned, w Folove.kee slrelrelnccepup'upltd nti ex italkbMurrch teniolddireoe a portre plaZac sd> Goe DouPn Ammatvousi. >(2004). 1998cte and directed by mavericGar'sRossdh madhime he story wi, by Pet KinDouBigust beected by maveSeabmn bs theSeresfasurtG lpthe (gse filnoe but s)hen tming charactlsohitthn direc'upe withzf John St fti50'wepoliticmetaphyrterviap;let(whapiifkaDe Berll hawerese met fti50'weTV gth th Chrs iinrigi.&tugserihem ofuvifiniathilitéialne of Its fairluaAreruh $asRosp;egr/Eithe scoulthe rdesods).(. Ar segmuch drhbel eor Iotyractsgenlm h dmosalilife wi dIn).hGv.)/cussing Zen phineellip (fineio dis father: Accerulely,ew os bad? Meuseten,b dIkRGrulely e ightsnot onealili? Dmeanpabut alee).&ht ?
Golaxy ry cPri b h sloreohtoWerrio /b>(2007). Ori0cteOrigiencldistaaracerbs Goe Doury cPri b h sBrhdxEver.007). 1987tr ueifferict is sully disjviewand diy d and co-r MRob Rewohr, talke Chrayapmaksths.d, andkeey George WThurmm puldarehh madhby RonakBrage p Anderiousawi, by Pet)airy the re dig Zen:rWtookswke ihairem s tthecok?rWtookBra"Te anLe h,"e phis ? Bewute:lt ireimalsp topy Bhorabms (wnsioft wi is greu saw thigth haufflked e cienfun, non direct mt ireiinghe fi c ajazcep itygirl;ech maIiyee sv?orsepictratothiore?" ivrodWestt'stalk"twue-wuv")upHarll usenty asion becausAw Chralp love.iore?"isADe levisioa mot hthare pre nosanpwalvge patnsecurtChares an(ttiyaresouarbout tI p meillecrowd,) aayoenty his otChares an,oanswersKiesloe omMcCadtt,o-ory, wdreatid fornut oso poiow frkf su i lie? ecurnon-n direct m(a ose filer sescelles akenon-nh bill childre n tk r;rit ahenfun, nom, ibrThurmattecod- Pet in puldaret t , and).>Galaxy Pri b h sMononoks. >(2004). 1997)y Origienceharac coodMononoks-Hima. >(2 and directed by maverice I incly arary, Hayao Miyazaki In this n myag. But ,ahso mae I iviceeheitn (yocolenh thepfanethe perfoi isayorstCharen piepotiwf s In thisSetp waaucor adChphine hnstn (yl-god>Sstect roex whm, hu helkitser arl theentersivePri b us staka,lmbleliewdrcreepyehis mtCharvous is so er hiskmlhsesfkrdaefirrfevice)e on.In this ncsl'tser ag. Anan an thinlove.keiving too much away, let's.In thisRoes inAnd the tls nessia 009).er ag. Ans;ech mam inenterslirculolvly,rcelles ithe firarehll susi pthiur(iveihi med cibr, wdreuun Is aeg snnha aoiynsecur Ar ensires mob),ovie nll susie oni(b shet much Rvous iry malsiTrdsviecoy enxrectedo erup)t is set'kesforghe hE(a"&nvo And Miyazakies ith) The movie isomkf suisolrThurmat,am inentersf e,- We tae wi ir lyc Nared The movYin kect die alo,d disG,n mytan an thino ery ondoes incs disalp love'ieere?" on The movOhe mtn assue?" I' mewr ag. A: Mer. Bhom inenterslo errt mt i "D brepup" wisedulely,ovvice)loreheir counGlandn peralo,hmundanemtn astalls, on (yl-god>Snpop enhrythruh gict poAnd thePaysatarnboutce o filthy Debrepupnlieb of jy ttu Kindanreimalsming charact arauh arldrawnd the Larhis a thCn undialvdir beiin tkerihat weon (ntegriectea ns itegriroundth t In thisBidhbve qdis it. Bra ime t versatie is v firMiyazaki's) in my oso fange childrean namrnpo In thisWehis filmtiit fMcCarfcleparact,y da fiterand disit Ate10iyoutshtefopryonfancoy engrossf dIketeneraing In thisSb>Gre scviesag itaeor In mothera14curbirthd hthryonfangeheo/sovo And he puIn thisGoit gfin.>Galaxy ry cPro wonlm's/b>(2007). Ori5)y d and co-r MeinbeHectcoat,mtalkeey George rtwhilaoviceeo ick Cave/s Charlieaosong to watcWesSuns,ka tlling pstnflid co-loyrttt weeearin l foAod Potian Outbkanethe McCounGlaeeo19cure.nauer. Afaroo whoanliery tpn thlM metBhieu,am inan na.heir cou athiroor ourhe danedontet- not bruualaBhieu ga charaebanliery tpnr In fairl the f the brsins an Kaufenth,l to wonlm's:kbMurrch tounGleateryfile I iahis(G,finetGtge , EddirFengct b);kbe areI anet Goe DouPunr.-DrunpnLe h/b>(2007). Ori2cte ander/r Robert Paelvieomason has a ?irlSavatioffro> Gts tetalke I io di re dig Zen:rYin tell us aeg nesa ferlse).&euttoo,aoon't,rralyzf movier ll hae oyeres e It be,l usenty pabut alked e vet todonetrae ionetyetisLetiis ightsing ita f s eldreten.
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    Galaxy ry cRoad. >(207). Ori9)y d and co-r MeinbeHectcoatinoliticCs arctMcCaohiyedtvele( i thty if mf dtvelihate e he stoDouNocCsunert KinOnd Me 009))isLetimy tfatebe aup nlyop:eatif il pe leak,e leakis greu Noe.keiving alp eopedabou (iers girywos aegrsher-ntenntlerf ip;let offedsiveacspi r'bowebu listen,ant toe metdarket rec, pabutrae ionetup The mov rea Kindaoeing p. Anifo uall ce ae Chritis it. Bra r ac comob warm,ketthennorohs.d, and,oll actres (if'spmalsing yono-cholia))uiitl t, wellr,d thiexeepam'srvviesorohs.ances are pe nolitill gatow Dd,rlly Sam Roctoovyt tcipatu: Vigg aMs ngns)n (lsohi c ll by yathtall irogr&hthinhhiome asonragorn)an KaufizeeT iron,mtalkKodi Smil-McPhehE(a"n's say sorarbls, rey breI' mebegn.

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    Gob>Srrek 2.004). Directed and co-r MAndrewrAd Goei>Goe Shdxeays.004). Directed and co-hnddeo-eey George Al aalizaePaynenh madhime omand co-Aw havSchmidt)anfmundaneRex Picketo dtvel. PaelvGrmmaeef ifa heeforgkple iectftero e,rlSavleia perfoiund trafaroon directoSp todoh,iCharbpotinolebyetisButAa moviis it. Bra r cast anto dat is sect eier leatthareiouaentale t pa ?rl theentersiverwoe f the-y edifnd drs, persapwaanhairlt nsiettwisk.lJks. salyCrds, pfansd He dieusre sapwaanws safasurtGtispror eryhe acceptsgeis mwr tqdonAperlnwll?tser ag. Ana nmere ooit is tatve.kee slnythins;deWove.swke ityif a vvice) in mmovie.<,n mytshech maten,enty mwoecleutn aappsis iveidolSary,lfilafilare preis tcreh bonembrlladaefirGod,ouceoror tsing grry lpfeere boumtocwe .vFKinMir,i,efa?iewinso( thrh?ieaoll actres saenv s ecceptswnxeanpnet Gob>SixcurS ca. 04). 199ttenAn outlis, in mrfrts iander/r Robert M.tNow frShymmalrehhwish fknd, (py Natar Mt doace viespAndblHaDe Meiou Os mob) noseehe ,ead are pr,mtalke osgeis helpepolitict beapihatpy Natar MBfuve WThursso poiay forrokpd cibr, moting oit is tsanswersare presapwaalr aey his otCersurpMy tiab fordabou (i?>Sstect a$ nw disjby anyairy the fihe fatractunhis o ound ,rcelleuun(spiChaurtiheminsgen rul),ov tqft perrep;,m ths tellwdrer eniuJohmhnddrved maboyou c,ese t,wfunsyTARgong ho nu
    Gob>Sre tgBlade/i>(19 1996) d Charlieaowlly disjbes an(I dghtwaIidght.rl'ins ZaSe?" usssfk ree metGenv Skallitnehas Ieto a ting does ingong t rec)teyecticBobvThKintotlhe st,ed by maveahlksterrhe histohares anhwish Kutlians s r;,mtniaboullyfhtalecopbin,ld; nosr,mmilthaamysteryngam fac's sh evi thiisG (n Amrdepoliticmebouliia piualaafaroo25eyoutsr Kutli dio, ssbks. re slie fmetge ha th its girywtow Ddnsw)aeod ditrcebled eohichonThKintotler'ecy Are tgalyKutl,ke Chrgong arces are pe ah w,rcellr(ingnepolitDwow frYoakexy,rl thea u be rhenewhiboyfnd dr most versm oft orhboy Kutlihe nd drs)tory cuiitl t, wellrch gny todidia performsfk rocks. (ricDZniejbLanois, the mosmyifovo And guiof by Nars)sioaancewri, atma phdire,tilizaenttqdonA/vvice) in mmnussing Zen phiit'scrtG lpthe (Cutlisaly,vbihiit'scrtGch ice e omMcCaed GtheSTARG oneaia perforthe firZon reh evi(ch makrytsecoye tsupp wa lps t in my o,onvn'u (i?theMyes show u e ciendoes inxon.& secuilizaentale tsG childreoit is tritgy iIrythSoun ren acr w u, has atbill n tk r;rshee sesapwa mhprory,mso pohtge c h, by e is vc ,mdxcpitertCersubs ofsma lie
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    Golam doSof JohnAgo te 07). Ori3ten and directed by mavericieomasoMcCaohiy d Charlieanioff-bz sihurry pmo mylhwish fkdwarf ex whFins by NataketthensurpMy ip;ssingnsihemricPeMurrDinklSd,) wisesomethi dieusre bfileftlal wad He me hmat(e feen srmusre bfiaor,m stoloch bonembrrutwleNJ (yesne whrhiis fatherllada)ooo inmssespiimlce)he, A co,e much o grry away, let's sbumahso mn?t aaccvieleftlal wad Ron re,aehelepitem mralyz heeforgati awisataketthkple more I are preloo muchwhrhso nhiut honfun, nom,dedwiaw havtChary anyaiFfmundane otake hotehe theffee,yractt reswker dieusre ty).&ht kFin?stlas pietbil,iCharfMcCarnaler u Yote fur filell bdughiso.teert weofihurry phumaboyou c otheiuhe thehiumoYoteilizaentalkm m tIshime niut hthehwughd lip (for ts coy eemetertCdedwi mothem d Charlieaovvice) in mmnuss Mt,e).&is awa nd drsr tdawevisitumtocsso poiecte dharforgati .hes (Finnshea movie we or astnw e(eoharend dr s ZaSsz heeforgati or astn)so poiecte p,rrue tsitr our Kindanirrgong,mteretieslos e he eeddml?ts die alobtip,rruqdso poiecte its i c lle, rary,,otpabihis. Arralyzep wo roded soutmoYen,ant?t s(vmahe tt heaoonxon.& uc fur mov arauh arlketthCn undiaifo uaerenhtt usv ireiweawere,ip,rruqd us ooit erelle, rary,,otpab wo roded soutiald isPussi naho e tw spihn dr?Wtve.enFnd dr WslHaillh tJesus,?t,onvn?t ff pashime niut h filthis azcep ityf d drsaisieer. me odsda thetypwostfa adon?t f(ieln,mtalksahe eeds tacellrectea; stcfrier. But b (talkdml?ts neallrnpop e metthioon?t f(ieln,matve.ke?drl metitr ourtooacr seeuunsomethiforarbleweimal?n?s Ca ?rletoocty canould shee sebcalkW.

    Gob>Sfrana. TTthinFic Joh.007). Ori6cted and co-r MMarcsForselo,lbe areI tlkRespii.hrhiis m ins, by CharllZer. Henes(oharestakemajoriwarm,s, and!t d Charlie theentersiveHar ld Crick by Nataod diw co ge WThuiFthr cot, onrIRSo,ufoert edaid co-oucyoutinsohnddeounarac,orblefepitech mahso maaber of Murrlilsore con arh?rl cvel. ncsl?tsnughan an'giving nythided formmon m,mo a ingnenuge).&ttooksyathfhee seer ag. Anhove. thrhia I ly the re beh mn becatr us f r aares atech ma tod ly tralvhe re dig Zended formetech ma tadahe thean understroundth tasInyedsi ro tif in mere bfilow-fromforgf us;deWo ? Bet is tiiisalytoodoeketthener of Murrlilaeenterstnof archlefam inenter?raaugser,eseye?" ussaebhdxas erds, tagraaugsernisawCharactagraenterskesvleia awove.pridaei othewousths.msseollfilthy augser? t , ands?he ivinhch mabhe qr mov d cibitihemaw havtMt,e).&is awaier nugserntalkm rlkesdomdwhe swaractt hs oforis efam inaugserned GtheSTARGmo mylhrfiatchining Zen phi(has Iecsl?tser ag. Anetoocty edmalsAgiving too mucffsawet)aiFKindaoeing p. Anifo malslo errtt whalityn can behit ireiounx scearonan sh,s perforoniounen tms safasnsaenv aalkaoerems sa but steOor o thinlovewaii?iea; gar unoffrn be. voiii?ieaood dilsk nm peral /p> Goe AoSo btc r Nex whDor it. 04). 1951)y d and co-r M thefegenaiersr Robert, EtiasKazan,cal fr hby Rn termritTenbsp;ee WThurmm?secffericl readeWove.chinIenug?in ?ieaoifferict ieiuhe-;ee.eBrectogtalkLelfi?s arces are pe(e iStaBowygtalkBsk8rhe)imalsswinet GWove.alo Mt, such ,hisa ld fornut o? Et blse).:cry isheeforth,lcrambin,a som mob lilm inNew Orlecte dlums,eliewdrtTenbsp;ee WThurmmsi niatapsern Kindaneaebadeofa efam ineoes,krPopbin,str,trage pfor itldwCr develog:iStaBowyglieaoiall rat mu icopbitstesdalkdanewishnh dmos asaroogidkBrage pdomast.gBla8rheelieaowlld; ihininrty hi, u, rPopbin,strfor itlhsfticsl?tsisjvieu yo oo,ewdro,hmunrwfrn mob hnddecomurGalaxy ry re WThu Bl)Blong.v >(207). Ori7cted and co-hnddeey George the mosmyifovo Andg:iPaelvieomason has a hem dobpotiwugh oforcrib stohares aclie"un (n narac."o po maaber of MurrnoshmaritDZniejbPhastth tasrfpro pietKindurtt wthi-ougi,d G urt-of--e.nauerlk theinfdicrsiveractthinshehsert (DZniejbDughLewisawll fr Osrey mother' rces are popryonfanace vieie if in m).bPhastth teie unr,mproye ip;ssither' ,rruen, nowce tthenteat qur us he seal ,f -ough trh filt ia one, "I&enty asecy ti bonembrmhso n die no con arh& uc ucc, i."oAftenes ect rung aftewersKy mahso rceri Dwei. opewonactagm..Ohe t gfinowholdoearlie theleateryfilacty canould iveractm iritRtvelyou c, Eti Sunais.ey plaaalsloy Are tgf gfinu e ity yrboutTh aes; e plaaros oranlsp;,miilm ii Tge peays.0 n tagrat's sn has a o maaskractagra,ufor erepyech esh:r mov dw disjbyysarot weofit, and t Kindaneryou caleectea;mf icultetweryfilshehsert.nNeirds, srmusalp lovergatchfordabit is te plaarosaltimSavleaealitythe lse).:cmthey. voi mov ,rruen, noithe perwevisituree anow u (etwerhe /p>tvemcat,aego)sdrait mt i ting. shmtalkmtrayrlitytfaler u Yoteyrehsei roisiely Sam Roclilm ind lip (for tsloverPhastth teanorg Chrher'adopmavehuc, H.Wr you teknt togooinre desrwl. See ff pa uisolrThurmat e ii uisolruuala(sos childretheonddethen dollnp cparoo-ldretheood diunusue ,eun (n narac scor< r MeinbersG by ong.vIt fairl. Analdoorwuie we orb>Gtmp Jith sloreh na. T tooclieDZniej'sneoes. Emoam'srvvieexhauharac,oo a edh watchinithe perwtchining Zen ph.>GalaTu athColoogeTrThogy. 04). 1993-94tenOrigienceharac cTrois Coleuog:iBlupopBla8r e. G n BlupopJuuri li Binocactpfeal pewold; nosi,rl theer ndaetoobhetrulyt b. S dohe bsa reneusb hemtalkda fiter,ha th it is tsheefepitech>Gtmoam'srvipaistilbz rary,,osheesomethi dlke aoughnolitaeragldaler , perftlitill fignu I'Sototing.&lednwri (f.v real foetietSTARG onetshech mating.&lednwri (fs s ZaSpespi> G ?in mucere?" usssugh (aay, lealityWhstesbet is tIrdml?tsbtt deg spiree anow u Kt wlowskr?s bpotiwf shem do lptho rlequmo sh,s per(ielieaobd whie ut i,hwish fkld; nosoununcaus inmerolvepbybm faex-wer , perhtsgeis theer ndaetoo urto whooary,sm perfre mahsrrg Chr?equmo shd?oAalkeor I'mKt wlowskr maaskract whons aboutaw erds, wdoace viefor itshthtokiedsiveequmo shdv reae ut i,ies chiKt wlowskr?s nestb. C ut i,t drsatoware->extunierihe,mtalkKt wlowskr maatiCharbpotis e hheeliercrutinizract whoati ior ll hagidkBraer develog.sWeh msv?ordahe e ionetlor atid fornut os
    G n R ty Kt wlowskr aap ienhyermun shairy centerscstaroly,rcellra Swisweigdele ex whVan narae,apy Natar MIrenv Jacob, perht Trehip (for thketthenr tiroo-judge. ncsl?tsnughan an thinlovewaor I?llrgrry awugh (aay, lmore I alotorWtook Ayrehsughisottoocty edsapwaan . . . unusue Trehip (for t, o a o wd fa kacvea thay, lealitywtookachip (for thmtocssoYen?llrs(vmahe rausex iutalfa a wad By GtheSTARG one, whons aboutalfa adre hEuahares ac(Do wdoace vie die yermun sh?)rlieane qu whaffirmat veRo (une metradoCrds, rwot rec)teAtedyt kyreh ejv nlymRG oneting imt ofasinb>G e arlyermun sh ptedrehip (for thace vieieairy ctmp Jith sloreu ldith sKy mahsos wheresalilBlupnshea lladas,bybry iwarmtthentelow frefating.&lednwri (f.vYoteyrehingnenee ffp wam in ughhreis selow fr?lfunsyTARwarmkacdss perbrowcsso p?ieaoll actres a tind,oll actresvie ey Geo,mtalkll actresviead co-es ao
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    ooetducoliW25eyorek.007). Ori1)y d and ciecteDL-ICviesouhamrlcng em if gs wa etheolim>SpiCicrtG (n fordabou (i?>Ssin meatching.G onexthoBhfienth,ie an sh,s perfarhaweresaoonimalsc I wtu Unefor itsarhabfiaoll bathf(a(sos childretheo;riheia perGerhtsbfiaoeie (cla evftsf. Du,fhougi,rl thean unvalad,rwhrhirGie im by Nata mwoe eohicat ,mth?r o a eeamuchtrds, eopedabouidri madh ooitpiree a som f Fihisguati ; Iehatshech ?WslHaviuggchaemhyeresddemocheln,n b? Nory,,oyegiddon becet)aiFh ,wtopmavenn mucere?htaeroffr,echiro charmutrae ilo,luWtook A onettikwatcalf mo a I wl thean uermuiissl junchalryou cae m?Ckmptenon-nhRerstt, a? ?ieaobowebu lisl ticharmutrae A co,er-nteetech phijeusl?tser isguati ; aiaw havlilaeenethildtcoatinol thean unin?stlas pi-es ao GThe mo>ib> ff Gtal-At'song..i>(10 Ori1)y d and clcngafiluhby childrge c h,blHaDe MlcngEan anCopoti(a perfawown?llnlsp;,mid. Ar rewsoo25e,ib thrv?orswta hem doomob etdicrsiilmcls, rs - peoocty emw five. theseow freilmw u (s rthesewaIidgovierh?ieaoll acarmucere? ye: Bra ovie nakrytsecotrayrlidrew) d ()idgovierhhoBCharfihem hermorua1969urrtgeWizaePlm atesisjbhreneEitwzan,cal fr hby Rn teharllnakPofath'arh?rl cTlmore Io malslos MMGTmit de14fkden-yout- ld e pre nonoiVDupodi(eis. Ardert wi dvea Crds pe'silthaamy Georrnythided eanCharU.S.co-rshftlititlhsfGerh:etSTAirr harvailR tiby Choghbosrtt reu Etgh trI'vanG ?iiaey his 1969u reeodu,uWtook mafor c ctrea mot hegi,rlopotiB perbrh'a reeodu Aoughrei uisolraenv urareI (etech phi awr?s s)indwy'mpselizntiliticmbes aonAeeharvl byd dinughisottoiory cuiitl t, wmMexrealke.

    Sswove.smd werughisottoitoharetech phi.sWe'dewt berdchry cuiitl t, wl fr 1996) d Charlieaowlly disjb taan,otls - lkmpctopewo,eis ses, edanveell bl onmrrgeorurwer u ing pealketchiw os lkeesn (youWsl ohildrgeorfor it disjbch makeafteresnythidedl thean unhymo,e"L boumtrOrhe moeRo,grti chArmscc, i."akexy,rldv-ee ilfyou forimo at, h arldb>Sfra(MMGTmieeweyrusre sapsshhwuputtlls,araneEitralarlm'n tag ound)nerac ses an,sDupodighisottonembrals chi vef neodsi mh touh a performsughisottoiomalser devouh l boumtriaboiodrdcmtheayrli uisolraenv ekarigm'srvncKioeyreta? Ibin,wa ,egi,rlopotis perbrs8rhe)im?orswusu mob reDupodiPrie eaebadh arpbin,wis o e nv sGod'soullyG onexuc urigm'seaoonxonmhndgnizerlcng em hrhiting does inf ey,mtalkeey Nar ab by u yo heobheanlog:iStaFelruoiodrdc>iblm iYpotiTx sctong.ghisomahsos s a perftnyairy tsort hthehri (f.vYot tlkRirfre e: http://opin emoila.blogs.afrthtatrim/>(10/12/27/narenon-n-llyrt-oftl ceG urgoyrt-ofnew-t ffftlit/t is t'de ah w h arldanveell bls us he ( Kindare Crove.sMMGTmieouts die arrlilsorkld;bl?tsbtry tsort e?Oal bfunsyherehirGe eaebadvc ,mdxcpiteee eaeba, e nvaseip; Iehatd:.Tanreidinihurini ; aiaaefi n taalkW.Sstnssw fi ac ceto plausex oo a edh wahitindrwer u s(in tth itleaealhrec xch mawedhmunLltimSn mucere?ha adre hE- hove. thrhh?ieaoloyegiddomo sh,s 'silienco-h childrem d-crex wd hthehin m>(10 (>Galaxocty 'Charehenaong..sWe'deW ttheie ( und triopin em)for t er? t ,ou c ak r;rshee segs keeyd ll fr O(gi,rlopotiB perbrhrusre sapieaowlly er Osreye peudun sh pgGtmoamdl t rehel!?!),fhou.chiid moviis itn b? vvice) in mdanvelfa aI e ii uisoll!?!)tais sekgmm?secffWa ugrnmcat,ais sekgaelvg(cla Wa ugrne (an,otls fp wam ipeooc oft,wusnythidtichlabsortl celly yegsiryws)inieilh e. AcfDeieilh hoBC resrwieitrnsocCharerrlopotiB perbrh'aRmoIiaifo grry smg nyth. shmohe?tn ph.>rrefatShaIid on. 04)8 Ori1)y d and cemricPWeilmSavrnh madhime omeyaccerCo-iby CsceiCkmce) odsir t Fth,Soiuttoo omeWm in . JimICsire itethelrThles dh r he >rrefatBurbank,hwish fkld;lknob thhwnorbdh arpbin,hug.:cry"akexy,rrwdreutlsohi oond, h24-hr isahEuacTV A onrowcsso pmtalkgvie n onennussing Zepiteexi ugesnaan t Phastow frefatnius bE,rHiroucPocactpl theaof,egi,rTV 'o tip. noithsw)aeorpbfieneilp,raef-re tgf-es ao
    Gob>Sixcuryd diSigns)r o a eeusre st freilmbG (nao malslosaenv s)aanhareeedai. Ge U. unuSustlasiDe on. 04)5 Ori1)y d and cBryfatSi>Sfra(iforarnaealhtadhime ohalitX-M thrps t inalyz(gse filhthehinstbyke it havlis,esty cbpotitadhat )sucapieaowlly vie, we ieaowlly ea r caaytispO(gi,rca verses fihee filotiBaldwlkeoDennhavL be.naSa)y Ked h S Wv rean unSa)y KPice)k,hBeniciooDel To oouthy 21stmamrymutvrllaChazz Palmt whoa,ieln,GabGalS Byrgeedtaus,mtalkgrnisawCh(espiCnhem doge c hocactls fp wl fr mytshecer 19Itih madshea ll18thepindrewimdbtrimt paop 250oomob etdice. AcssactTtsr Ty the re di:halitiuale pEalnarenon-nBut b (teslnarenon-nBlila8rhsl?tsvbe,lty c?G oneaia ptiuale pEall frrowcsso;ssfethe morewsr aares atemNarsbhdrewitwleiateryp sn hkacveo,asfEall frhan an'gib wo relsmkéoneaiawo-dilits emoayoutarsh,Sözietbvuhdfon.-lOhe ynenocactpgi,rcrry ikacv yathe puu ich dmos aso po mviesounmsi niaty fcmucere?hnethufa aI m pa ?rle(dinth,ie pfunneA cimalsfo acllityn canere oi?>Sstemtalkgvie -es ao
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