Review
Culture
Film & TV
Sport
3 min read

Don't stop believin'

Air is a biopic you can believe in, says Yaroslav Walker, thanks to an awesome soundtrack and the hint of deeper themes.
A woman stands in a kitchen diner hold a phone with a cord.
Viola Davis negotiating down the line.
Warner Bros

Air should not work as a film. A sports biopic that barely has any actual sport in it, but has plenty of shoe design. A plot that revolves around the character of Michael Jordan (considered by many to be the greatest basketball player of all time, if not the greatest athlete of all time) which goes as far as to show the back of his head until the end credits, when stock footage takes over. A film that drops a number of hints about interesting character development (Matt Damon’s gambling, Jason Bateman’s daughter), and then never follows them up. None of this should add up to much…and yet it does. 

Mark Kermode (very much this reviewer’s lodestar of critique) has often opined that you know a biopic is doing its job when it makes you invested in a field you know nothing about. Senna makes you care about motorsport. Cinderella Man makes you care about boxing. Well, Air genuinely made me care about corporate sponsorship and shoe design…and I certainly wasn’t expecting that! 

The script is fondue levels of cheesiness, Matt Damon gives a climactic speech which simply oozes baked Camembert.

The direction is fine – Affleck has shown that he can be perfectly competent as an actor/director, and he does a fine job. The script is fondue levels of cheesiness, Matt Damon gives a climactic speech which simply oozes baked Camembert, but is also laugh out loud funny on more than one occasion. The performances are all on point: Matt Damon and Viola Davis can pull-off earnest roles in their sleep, and Affleck and Bateman deliver some decent ‘straight-man’ material. Affleck also demonstrates his directorial skills with shrewd and limited use of actors who can over-stay their welcome (Chris Tucker…small doses). 

However, the thing that sells the film to me is the soundtrack. The film is one big nostalgia-trip, and I loved it for that. I have long championed the theory that the 1980s was the best decade for popular music, and this film confirms my theory. The moment the Violent Femmes started to play I was sold. Cindy Lauper, Run-D.M.C, Springsteen, The Alan Parsons Project! BLISS! Throw in a Smiths and a Bowie track and I’d be giving this film an Oscar! 5 stars (but only because I’m listening the soundtrack at this very moment). 

Air hints at some deeper themes (although it does little more than hint) and one of these is the power of belief, the power of having faith in something. Affleck’s shoe-mogul, Phil Knight, has had faith in himself to build up Nike as a successful brand – and now spouts lazy quasi-Buddhist aphorisms. Davis’ Deloris Jordan has absolute faith in her son’s sporting ability, and refuses to allow it to be overlooked. Damon’s Sonny (a talent scout for possible sponsorship opportunities) is a gambler – he has belief in his own luck, his own scrappy attitude. He shoots craps in Vegas and demands his bosses back him because of his gut: ‘This is what I do here, and I really feel it this time!’ He truly believes in the value and power of sport to change his fortunes, and to change the world. 

From a Christian perspective it raises some interesting ideas, but doesn’t raise them quite high enough. The Christian life is one of belief, one of faith, one of ‘taking a chance’. Yet, the chance the Christian takes is not really a gamble, not a roll-of-the-dice, but a relationship. The Christian takes a chance, but it is taking a chance on love. Whereas the characters of Air take a chance on the sporting ability of a yet un-tested Michael Jordan, the Christian finds a certain surety in the loving embrace of Jesus Christ. Having religious faith, having Christian faith, is so often mischaracterised as a blind gamble – rather it is a relationship with one who loves us unconditionally, and so is not as irrational as assuming one can win shooting dice, but is the truest and most sensible thing one can do. 

Snippet
Culture
Film & TV
Leading
3 min read

Who’s the real hero in the Lion King prequel?

Mufasa’s tale is a lesson in leadership.

Mica Gray is a wellbeing practitioner working in adult mental health. She is training to be a counselling psychologist.

Life-like animated lions and a monkey walk towards the viewer.
Disney.

The new Disney film Mufasa: The Lion King provides a prequel to the beloved The Lion King. Aside from offering viewers nostalgia, catchy songs about brotherhood, and dynamic visuals, the film also offers an intriguing exploration of leadership that by the end of the movie leaves you asking: who is the real hero?

In the movie, the young lion Taka is born into power. He is the son of the leader of the pride and is repeatedly referred to as "the next in line for the throne." In contrast, Mufasa is a stray that the pride takes in after Taka saves him from being eaten by crocodiles. He does not have any "royal blood" or status within the pride, and his role is nothing more than to serve Taka.

In a pivotal scene of the movie, Mufasa and Taka’s mother are ambushed, and Mufasa fights to protect her while Taka sees the ambush and runs away to protect himself. Viewers watching have asked "why" the two responded the way they did. Was Taka simply inexperienced, or was his decision driven by fear and an instinct for self-preservation? Did Mufasa’s actions stem from natural bravery, or from a deeper sense of responsibility and selflessness?

The apparent innate difference between the two lions is captured in the first song they sing together. As they regard the birds in the trees, Taka sings, "When I’m King they will do as they’re told," and Mufasa replies, "You may look down on them, but they are free, and where they go cannot be controlled." Here we see the first seeds of Taka’s desire for power and control and Mufasa’s contrasting respect for the other animals around him.

However, the movie also highlights how the differences may not be innate but due to differences in how they are nurtured. After Taka runs away from the ambush, we see his father teach him that no one can ever know that he did so—he teaches him that being a leader means performing strength rather than embodying it and hiding weakness rather than growing through vulnerability. In contrast, Mufasa is raised by Taka’s mother, who is more nurturing and encouraging in response to weakness. In addition, Taka’s father shows favouritism towards Taka and resentment towards Mufasa, which he internalizes, causing him to develop an image of himself as inferior. It comes as a shock to both lions—and some viewers—when in the end, the pride-lands adopt Mufasa as their leader instead of Taka.

Mufasa reminds us that leadership is not about ruling over others but about inspiring those around us to rise.

Some might  consider Taka to be the real "hero" because he was owed kingship by blood and saved Mufasa’s life multiple times during the movie. While this is true, Mufasa demonstrates the character of leadership by seeking to protect the lives of the collective throughout the movie.

Regardless of whether that difference arose from nature or nurture, that distinction highlights to me who the real hero is. Taka’s heroic acts throughout most of the movie seemed to be about protecting his own interests, whereas Mufasa’s seemed to be genuinely about the welfare of others. Of course, there are elements of Mufasa being motivated by self-interest too—especially towards the end of the movie—but his strength lies in his ability to connect his needs to the needs of the collective. In most of the situations where he "saved" others, he did so by fighting alongside them and encouraging them to fight for themselves. He recognized that success requires the collaborative effort of the group and the bringing together of everyone’s unique gifts.

Mufasa reminds us that leadership is not about ruling over others but about inspiring those around us to rise. And perhaps, this is also what makes a true hero—not just strength or status, but the willingness to uplift others, to act with courage even when afraid, and to put the needs of the many before oneself. It reminds us that the greatest heroes are not the ones who seek power, but the ones who earn it by serving those around them.

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