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The Good Book

To characterize the Christian Indie project The Good Book as a movie, is almost to give it a misnomer.  Unlike most pieces in this media genre, the film has not a single line of written dialogue.  In fact, it has no sound at all aside from the soundtrack, put to the “silent” video of the film’s events.  In this way, it’s basically the modern version of a silent film, but one with a concept that hasn’t often been done before.

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The War of the Worlds and The Problem of Evil

Alien invasion stories have many inherent conflicts that make pulling off such sci-fi classics little less than a miracle.  Atmospheric differences, language barriers, cognitive development, life-form classification, sources of food, practical travel, and other questions can all come up during the story, making a believable invasion story difficult.  But H.G. Wells goes even further than these surface-level questions by asking a deeper question: What would the horror of an alien invasion say about a supposedly benevolent God?

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Snowpiercer

Snowpiercer

In our current trend of dystopian stories, it would be easy to think that young adult literature and films have always dominated the genre, or that the genre itself is a new invention.  But long before Katniss ever pulled back her bow or Tris joined Dauntless, Orwell’s Winston challenged Big Brother and Guy Montag hid books from the Fire Chief.  The genre hasn’t always been about young adults.  But it has always been about simultaneously warning us of the consequences of our ill-advised decisions in the present and showing what sacrifice will be required to undo those societal consequences in the future.  Snowpiercer, in like manner, is more about those two things than it is anything.

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