Hope Springs (+ UltraViolet Digital Copy) (2012)

Meryl Streep, Tommy Lee Jones, and Steve Carell prove their worth as actors in roles they seldom play, but they all did a stellar job. As usual for these box-office hit professionals. Carell as Dr. Feld who takes a week to turn a stagnant 31-yr-old marriage on it's un-bridled love heals. Kay and Arnold are the couple who have to face marriage sexual reality in front of a shrink. Viewers feel as awkward as the characters are portrayed. Good acting makes this good story achieve greatness.

It's scenic, since the Omaha couple travel to Great Hope Springs, Maine for the intense week of therapy. And it's quite believable. It's emotional, like the struggles and high points of a real marriage after 31 years. In Feld's office, it goes from pathetic to comic. Intense to relief. Moments of endearment and others where the revelations become loud and in-your-face. Sometimes I wished I could hide myself, other moments I squeezed my wife's knee. She watched in the theater seat beside me. She immediately informed me we must buy the DVD when available.

OK, it's not for all. It's targeting older, mature viewers.

Teens will growl "gross" during the clothed sex scenes.

Young marrieds may envision their parents or grandparents.

Ladies 40 & over will find it lusciously romantic.

Older men will/can learn a few tips to sweeten your own sweetie. Works for me, 64 and alive.

Anyone calling this well acted encounter "far fetched" just isn't old enough to have been there...yet.

(2008 HOLIDAY TEAM)When I saw Meryl Streep play the seemingly facile Omaha housewife she portrays in this 2012 marital dramedy, I had an immediate flashback to an underrated romantic drama she did almost thirty years ago, Ulu Grosbard's Falling in Love (1984), in which she played a young married woman who couldn't help falling for a married architect (Robert De Niro) on a commuter train. I kept thinking of Kay as that earlier character all these years later trying to fan the embers of the passion that erupted so unpredictably back then. Interestingly, her younger character could not consummate the affair either but fell hopelessly in love anyway. Director David Frankel (The Devil Wears Prada) and first-time screenwriter Vanessa Taylor travel to the opposite end of the marital spectrum, a 31-year-old marriage that finds Kay and her accountant husband Arnold sleeping in separate bedrooms having long ago lost any sense of intimacy and passion their marriage once had. The film begins with a seriocomic preface in which Kay awkwardly tries to seduce Arnold, an invitation he rebuffs with the flimsiest of excuses. Knowing their marriage is on auto-pilot, she fears being alone emotionally and ending their lives in emotional isolation now as they go through the motions in their sixties.

An optimist despite the odds, Kay signs them up for a week of intensive couples therapy in Great Hope Springs, Maine, where renowned therapist Dr. Bernie Feld practices. Arnold is predictably resistant but begrudgingly accompanies her when he realizes how serious Kay is about the counseling. The sessions with Dr. Feld initially don't go well with Arnold protesting the doctor's every recommendation for building intimacy in his relationship with Kay. This is when the movie becomes the most surprising because every time a physically awkward moment presents itself, the feelings become heartfelt and sometimes humorous in unexpected ways. While Frankel and Taylor handle the slim story turns with genuine insight, it's the masterful work of Streep and Tommy Lee Jones that elevates the film into an experience that far transcends the Lifetime-TV orientation you would expect otherwise. Unafraid to come across as harshly judgmental, Jones has made a career of playing dyspeptic curmudgeons, so it's nice to see him gradually reveal Arnold's vulnerabilities with skill and delicacy. He has to play Arnold close to the vest but not so insular as to make you wonder what Kay saw in him in the first place. After tackling larger-than-life figures like Julia Child and Margaret Thatcher, Streep is splendid portraying a sheltered woman who contributes as much to the fossilized, inchoate marriage as Arnold does.

At 63, the actress allows herself to look even beyond her age, but she's still beautiful in a shopworn way. I love how she almost swallows every word she speaks as if Kay's tentative nature is holding back grand expectations of a romance she can only fantasize about. The two veteran actors have a natural rapport that gives the viewer a rooting interest in seeing them overcome their age-old emotional and physical barriers. There are moments between them especially in the film's last third that are quite heartbreaking, especially when they come to learn that they aren't the people they believed themselves, or each other, to be. Steve Carell plays Feld straight-up without an iota of irony, and his clinical approach works effectively within this context. The rest of the supporting cast makes very little impact, including Jean Smart as Kay's sassy manager at the Coldwater Creek she works part-time, Elisabeth Shue as an equally sassy barmaid counseling Kay on sex, and Mimi Rogers as the final payoff of a joke about a comely (and yes, sassy) neighbor with a trio of corgis. The young actors who play Kay and Arnold's adult children are barely present, but I'm sure that was part of the intention in order to allow complete focus on the couple. Frankel overdoes the soundtrack music when moments of silence would have been far more effective, but otherwise, the tone feels spot-on.

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Reviewed by KIDS FIRST! Film Critic, Victoria B, KIDS FIRST! Film Critic.

I went to see this movie with my mom and she was freaking out and covering my eyes in some parts, I thought it was funny and that she was overreacting. After the movie I had to remind her that I am fourteen. This movie is about a married couple of thirty-one years, Kay (played by Merryl Streep) and Arnold (played by Tommy Lee Jones) who love each other so much, but have not been affectionate or intimate with each other in many years. They even sleep in separate rooms, and on anniversaries they get gifts not for each other, but for the house. Kay gets sad at the reality that she and her husband do not have a real relationship. So she gets a book about marriage and calls the couple's counselor and schedules the intense therapy to fix her marriage. At first Arnold refuses to go, but then reconsiders when Kate leaves without him, then reluctantly he goes with her because he does not want to lose her. All throughout the movie Arnold is uncomfortable with therapy, and especially the intimate tasks assigned by Dr. Fields (played by Steve Carrell). While Kay really wants to have a "real" relationship, Arnold is tentative and they battle with this throughout the whole movie. This movie was very sweet in a weird way because it is based around an older and very in love couple that struggles with intimacy and I guess for a young audience, that visual would gross them out. The soundtrack in this movie reminded me of music in a silent film because music is included in most scenes and they describe the scene, even if the words are not there. Tommy Lee Jones is very versatile as an actor. I have never seen him play a domestic character or anyone in a relationship, it is refreshing and he does a great job. This movie makes me see the power in love and determination to sustain it. My mother was shocked by some scenes but then laughed, so this would be a great movie for couples who are in a long relationship. This is a very intriguing movie, I have not seen many with this concept, so I give it five out of five stars. I recommend this movie for mature 13-year-olds and up. This is a good movie for a mature crowd.

Video reviews available at kidsfirst dot org

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I took my mom and sister to see this. Purposely put my sister between me and my mom (I had read it was more drama than comedy. And I had heard about the theater scene). Within 5 minutes I was choking up. Don't get me wrong, there are times of absolute hilarity, the audience was roaring with laughter at a lot of scenes. However, it just struck me as a more realistic portrayal of life. Honest. Everyone's hopes, dreams, wishes.....and the inevitable feeling of those dreams drifting away. But then resulting in a journey of acceptance and love. For me it was an emotional kick in the gut. Maybe that's just me. But this film made me a blubbering idiot. If you have parents that are getting up there in age, and you are feeling this creeping up on yourself as well, fair warning. Do not let this film bypass you. Meryl Streep tore at my heart. Amazing, seemingly effortless work by her. Yes, her again. For those who criticize her work as being too, for lack of a better word, "studied" or "educated", you can throw that out the window with this. Just her facial expressions killed me, no words, just an everyday person's feelings flowing across her face. So realistic. Tommy Lee Jones---hilarious, heartbreaking, a performance that was every bit as realistic. He was awesome. Even though I had tears running down my face practically the entire time, I'm getting this DVD. Can't wait to see it again---but in the privacy of my own home---where no one can see me balling my eyes out. I'm a wuss. Rating: A

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My wife of 42 years dragged me to see this movie. I expected to be lectured, and was, about taking your spouse for granted. What I didn't expect was to be taken in by this movie to the point where I ordered a copy. Streep and Jones took a preachy movie and made it entertaining. Not for young children, though. You will have some explaining to do that will make you squirm.

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Penny Points To Paradise / Let's Go Crazy (2009)

The heavy-handed early films of the Goons do not live up to the radio series. But, what the heck, here they are on screen in two historically interesting and entertaining films. The elusive short film "Let's Go Crazy" is amusing and I was thrilled to at long last find a video copy. Favourite line. When the waitress asks Sellers (in one of several roles in the film), "What would you say to a little fish", Sellers replies, "I would say 'hello little fish'."

"Penny Points to Paradise" could have been much better with a funnier script, more ad libs and the inventive direction of, say, a Richard Lester, a Charles Chrichton or a Basil Dearden. Never mind, it's wondeful to see the Goons on screen in their early days and it is amusing.

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Blue Like Jazz (2012)

The main stream reviewers really didn't know what to make of this movie. Normal "Christian" movies are supposed to be right wing morality tales that tug at the heart strings and are family friendly. Edgy "Christian" movies are supposed to be filled with lots of sex, or violence, or profanity in order to prove that they are not normal "Christian" movies. This film is none of the above. While not skirting sex, violence, or profanity it doesn't use any of these as a tool to prove its street cred. Just like the book which serves as its source material it is somewhat whacky and off beat, filled with quite a few unforced laughs and real life as it follows the essentially true story of a Texas church boy with a messed up family (and maybe a messed up church) trying to fit in at an Oregon college that really puts the "liberal" into Liberal Arts.

This movie moves at a nice pace. It is well directed and edited with a solid cast. As for the "Christian" part, it may not please the average Evangelical church goer but it could very well sucker punch many a non church goer who thinks they are just watching a gem of a movie that was overlooked by the mainstream machine. I went to the cinema hoping to like this film because I loved the book and because my daughter has a minor role (the Aqua Babe). I was also wondering how in the world they were going to handle certain parts especially the campus confessional. I left extremely satisfied. Aqua Babe was great. The confessional, while quite a departure from the book, was perfect. And this movie could very easily someday become a cult classis.

I'm good at laying my cards on the table, so I will do so right now. I didn't like the book. I generally don't find Donald Miller's writing very compelling, save for Searching for God Knows What. That said, I loved Blue Like Jazz.

Beginning with a surreal (albeit) poorly paced opening of Donald Miller, played with reserve by Marshall Allman, Blue Like Jazz knows exactly where it needs to go. The film starts in Texas, at a fundamentalist church where Miller is content to simply exist without much rigorous thought. After a familial incident, Miller's perfect life is upended and he runs away into the godless Northwest United States to Reed College, where he experiences drinking, drugs, bi-curious girls and social justice. But, he cannot escape his background, or the Deity that seems to follow him.

Blue Like Jazz does not equate itself to being a Christian film. This does not suggest that Christians are not involved or that there is any lack of Christian themes in Blue Like Jazz, but the nature of the film is not sermonizing. Don's encounters with various students, from a dude dressed in a Pope outfit to a girl involved in Christo-centric social justice, showcase the turmoil of a man caught in the whirlpool of messy, post-conservative Christianity in a staunchly secular and hurting world. *For a discussion on "christian films."

I'll confess, I found this to be quite accurate in relation to my own spiritual journey. Having a personal conversation about God at midnight with an agnostic dressed as a beer can comes to mind. Blue Like Jazz touches on this sort of almost transcendental interaction, but also the failure of the church. Not in that the church, as a whole, has failed; rather, in the lives of some people pursuing truth, the church is very capable of providing invisible walls to run into. Blue Like Jazz is honest enough to not avoid the walls, but to show that they can be overcome. We see this in pastors, scholars and parents, both in reality and in this film. Blue Like Jazz never harshly condemns, but rather shows the linger effects of blind trust.

The style of the film is reminiscent of Garden State, with abstract shots of astronauts in space and on earth. Director Steve Taylor, through his use of music and tone, manages to create a genuinely idiosyncratic film. However, the biggest fault of the film is the pacing, with the introduction running far too long. Not much in the way of character development, though there are attempts, until Don packs his bags for college. Once that picks up, the pacing picks up, but there are still instances that bring the film to a grinding halt. Like Don and Pope placing a giant condom on the church steeple. Funny. Necessary in regards to a certain character. But it takes far too long to set up and execute.

Blue Like Jazz is a quirky little film that is filled with honest questions and a genuinely humble ending that is as far from an alter call as one can imagine. However, the ending is far more impactful and quiet than I anticipated, leaving me lost in thought for a long time. For a documentary that more actively engages with the idea, check out Lord, Save Us From Your Followers. Its on Netflix instant.

In many ways, the silence and subtle shift of perspective is far more powerful than an alter call. This is where Blue Like Jazz excels. The point of it is not atonement theory or proclaiming systematic theology. This is not Wayne Grudem or Thomas Oden. This isn't even really Rob Bell or Tony Jones. In some ways, I saw a little N.T. Wright in there. However, the point overall seems to be more towards simply living as one ought to live in order for the gospel to bloom. People see the good deeds other do, and they want to know why. The point is living gospel. Helping the poor. Listening to our enemies. Empathizing with other people's failures.

Possible spoiler:

Don's final comments about being "ashamed of Jesus" ruffled some Christian's feathers. However, the context is powerful in that Don is confessing to a person who suffered sexual abuse at the hands of a powerful man of God. Being "ashamed" is actually the most telling sign of a truly repentant heart. Shame and guilt often showcase our fears and our reaction in tune with the Spirit. Allowing God to move in most mysterious ways.

End possible spoiler.

I'm ashamed of Jesus in that I constantly fail to live up to his perfect example. I'm ashamed of my own failure and the failure of those that profess belief in the same God I love. And that is the pinnacle of Blue Like Jazz. It recognizes the failure of humanity in response to the cross, and the example put forth by both king and servant, Jesus.

The gospel reigns in Blue Like Jazz.

3.5 out of 5.

For the entire review on my blog,

--Nick

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It's been about seven years now since I first experienced Blue Like Jazz. I picked up the book one morning and read through it all in one day. Don Miller's honest and vulnerable story of a very personal journey of faith resonated with me. It was refreshing.

When I was in college, I wrote a very short concept for a Blue Like Jazz film one day during screenwriting class. Later that same year, I found out that Steve Taylor had beaten me to it.

So when Blue Like Jazz finally made it to the big screen, I wanted to be there for opening weekend. Even if that meant a long road trip from the hills of Arkansas to someplace with skyscrapers.

If you want to read film reviews, there is a diverse selection of them available on your local internets. I'm not a critic, and have neither the ability nor the desire to write a proper film review. I'll leave that to the professionals. What I can tell you is that Blue Like Jazz is probably the most meaningful and important films I've seen in a long time. Because in Blue Like Jazz, I see myself.

From Don's nerdy hairdo and tucked-in polo shirts during his Baptist days to his realization that he's hid his faith because he was ashamed of Jesus, I felt like I was looking in some sort of a retrospective spiritual mirror. It's a story about how someone who had never had much experience outside the Evangelical sub-culture is stripped of all the extraneous trappings of his religion until he is forced to confront his own belief in Jesus and decide whether or not it's worth keeping. It challenges assumptions about how Christianity should be practiced, where we should stand in the "culture wars", and what it means to be a follower of Jesus. It shows us the danger of ignoring how we represennt Jesus to our culture. More importantly, it reminds us that Jesus wants us to discard labels agnostic, liberal, gay, religious and simply love people as individuals.

I want to take everyone I know to see the film. To my fellow Christians, I'd say "Look! This is how the `world' sees us. When we act this way, we are misrepresenting Jesus." To those struggling with doubt, I'd say "It's ok. See? You're not alone. But doubt does not have to end in disbelief." And to those who don't know Jesus, I'd say, "I'm sorry. Like Don, I'm sorry for all the times I've failed to show you Jesus. He's not like me at all."

If you get a chance, go watch Blue Like Jazz. Let yourself be carried into Don's story. You may find, like me, that it's remarkably similar to your own.

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I'm deeply biased. I'm one of the over 3,000 people who donated to a kickstarter project to make this film happen. I'm a fan of the book and of Donald Miller.

But I also expected the movie to be terrible.

Most Christian filmmaking is very representative of our decidedly strange subculture. Blue Like Jazz is not. It's obvious that the primary goal here was to make a good film. To that end it is funny, touching, well shot and well paced. There's absolutely an indie aesthetic here, but it's appropriate.

This film exceeded my wildest dreams about what a film adaptation of the book could be.

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A low-budget independent film by director with only one prior movie, Blue Like Jazz seeks to break every rule for so-called "Christian" films and instead exist as a compelling, realistic story about faith. Despite a few not-so-glaring flaws, the 2012 film Blue Like Jazz rings true, is superbly engaging, and has opened several doors for future filmmakers in the process. Based loosely on Donald Miller's 2003 book of the same name, an anecdotal series of reflections on Christian spirituality, the film almost didn't happen due to lack of interest from Christian film producers (fans of the book came to the rescue in a record-breaking Kickstarter campaign). The material contains a portrayal of life on a real college campus, which anyone who has been to college can attest is never G-rated. The lead character Don (Marshall Allman), who takes elements from Donald Miller's personality and story but is mostly non-biographical, moves from a strongly Southern Baptist Texas environment to Reed College, a highly liberal college in Portland, Oregon. His experiences adjusting to the culture shift, as well as increasing disillusionment with his home environment and family, create a crisis of faith that propels much of the film.

The film doesn't seek to give all the answers, and it certainly doesn't. What it does is tell how messy searching out one's identity is, especially our faith identity. For Christians, there are times and situations that really make us doubt, question, and even reject God. There are times and situations that plunge us into a dark night of the soul. Moreover, there are situations within the church that cut us so deep it is hard to recover. I can rattle off a dozen situations easily where the sinful behavior within churches has caused certain individuals to separate themselves from Christianity, either for a time or for good. Because of this, particular moments within the film hit me with a particular sting. In critiquing the actions of some Christians, the film certainly does not glorify the socially liberal environment, either. The character called "The Pope" represents all that is good and downright sad about nihilistic hedonism. On the other hand, the character of Penny (Claire Holt) represents all that is seemingly good and hopeful about really living out our faith, though not without her own struggles. Both characters may seem to present, at times, oversimplified archetypes of their chosen lifestyles, and yet both characters are also very recognizable to me in individuals I have known myself.

As films go, Blue Like Jazz is not a masterpiece. The production is a little shaky at times, largely due to the small budget and the fact that this is only Steve Taylor's second time directing a feature film (his first, The Second Chance, also has many commendable traits, though is leagues behind this in most aspects). There is some unnecessary animation early on that is more distracting that propelling to the storyline. Some supporting characters are dying to be fleshed out more than they end up being. However, perhaps the reason we wish to have more information on the characters is that what we do see of them is entirely compelling. Allman, Wellborn, and Holt (among others) give their characters the dedication and heart it takes to make a story about a spiritual journey believable.

At the beginning of the film, Don's estranged father tells him that life is like jazz, which never resolves, but Don notes that his dad was wrong and jazz does resolve. The film resolves, too, though not in all aspects. While Don begins to reconcile with his faith, family, and friendships, we're not sure what will happen from here. This is a part of the journey, the part we see at the present. Like life, we don't see it all now. We see little vignettes of the story, but we'll never have the full picture in this life. Perhaps, in that aspect, Blue Like Jazz is most relatable of all.

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