Review
Culture
Film & TV
9 min read

Family dramas

It’s family ties that bind together a superhero story, a horror tale and a rom-com. Yaroslav Walker’s review sheds light on what these ties unexpectedly reflect, as he reviews Ant-Man & the Wasp: Quantumania, Knock at the Cabin, and What’s Love Got to Do With It?
Father and daughter super heroes stand and look to the left.
Kathryn Newton and Paul Rudd play Cassie Lang and her father Scott Lang - Ant-Man.
Marvel Studios

Ant-Man & the Wasp: Quantumania is the latest release from the Marvel Empire (in whose shadow we all live). The Empire is very much faltering. The main (sensible) criticisms levelled at the Marvel franchise are formulaic films and over-complicated stories that require you to not only have watched all the relevant films in the series, but also now the various TV series pumped out by Disney Plus. Ant-Man doesn’t fix them. 

The plot sees Scott Lang enjoying a happy life: adored by a grateful public and with lots of time to spend with his partner Hope and his daughter Cassie. However, Cassie has grown up since ‘the snap’ and is now protesting injustice and getting arrested. Scott wonders how he can best re-connect with Cassie and make up for the five years he lost. This bonding is interrupted when all the heroes are sucked into the Quantum Realm by Kang who wishes to use the Ant-Man powers to retrieve a thing to escape the thing to do a bad thing… no sorry, it’s just ridiculous, I have no idea what is going on! 

I’m a nerd and a fan, but even I sat there and got depressed at how incomprehensible and inconsequential it all felt. A simple ‘hero must retrieve object to save loved-ones’ plot groans under the sheer amount of exposition and world-building and forced emotional plotting. The first fifteen minutes are a passable family drama, and then everything is just CGI and battles and quips – SO MANY QUIPS! 

Nothing is able to sit as a dramatic moment: immediately a joke, or a quip, or a gag has to be rammed down our throats.

The CGI is fine, but so great a surfeit gives the drama a weightlessness, making it impossible to invest in. The script…well…looking up Jeff Loveness’ previous writing credits was illuminating. He has written for pop-culture virus Rick & Morty and that influence is everywhere. Nothing is able to sit as a dramatic moment: immediately a joke, or a quip, or a gag has to be rammed down our throats, meaning weightless CGI is only compounded by a script that revels is cynicism rather than in character. This is the bloated Marvel writing formula: schoolboy humour must undercut every dramatic moment. 

Paul Rudd can do this in his sleep, and at times looks like he is. Evangeline Lily is meaningfully absent. Michael Douglas is enjoyable enough as a bumbling octogenarian ant-enthusiast. The real emotional weight of the film comes from Michelle Pfeiffer and Jonathan Majors. Pfeiffer’s Janet is a haunted and scarred heroine, lying to escape a past she cannot outrun. She brings genuine depth and tension to the film, especially in her scenes with Majors. He is masterful as Kang, bringing both a physical and emotional presence that is wonderfully intimidating. He takes the work seriously, giving us a Shakespearean villain who is neither hammy nor po-faced. I’m a little peeved that yet again Marvel is giving us a ‘conflicted villain’ (it would be nice to have a battle between good and evil, black and white, rather than just shades of grey) but Majors is so good he won me over. Overall, it’s a slog and not worth seeing unless one is a Marvel completist.  

2 stars. 

Knock at the Cabin

A close-up of a father holding his daughter close to his face.
Eric and Wen, played by Kristen Cui and Jonathan Groff.

Having sat through the literary assault of the Ant-Man script, I dreaded Knock at the Cabin. I have a soft-spot for M. Night Shyamalan, but his scripts are clanger-city. They’re exercises in verbiage (irony noted) that one endures to enjoy a good spook. I was pleasantly surprised, and silently grateful to co-writers Steve Desmon and Michael Sherman for reining in the worst of the ‘M.Night-isms’.  

It is an efficient chiller. Eric and Andrew have brought their adoptive daughter Wen to a secluded cabin for a holiday. This turns into a hostage situation when four seeming strangers with odd weapons take them hostage and demand the family sacrifice one of their own to stop the coming apocalypse. As the drama unfolds we learn the four home-invaders are just ordinary people who have put their faith in visions that have led them to this action. As time runs out and people die the family is left to weigh the dreadful moral problem before them. 

The film delivers its tension well – Jarin Blaschke’s cinematography elevating mundane conversations to new heights of the uncanny with shallow-focus and tilted cameras. The performances are solid. It’s nice to see Rupert Grint on the big-screen again, and Jonathan Groff brings a compassionate vulnerability to the character of Eric. The standout has to be David Bautista as the de facto leader of the attackers. He plays off his imposing physical presence perfectly, creating a shy and nebbish personality, unfailingly polite and apologetic. It heightens the tension throughout the entire film and the viewer wonders when or even if this hulking mass will lose violent control. 

The film departs from its sources conclusion (2018’s The Cabin at the End of the World) to strike a more obviously tragic but also optimistic and possibly even Christian tone. It’s worth a watch on a rainy afternoon.  

3.5 stars. 

What’s Love Got to Do With It?

A couple stand and smile at a Pakistani wedding celebration.
Shazad Latif and Lily James play Kazim and Cath.

From a dud-script, to a better-than-expected script, to a great rom-com script. What’s Love Got to Do With It? is the first screenplay by Jemima Khan, and it is a terrific debut. Khan presents the tale of Zoe, who tries to boost her career as a documentary film maker by documenting the arranged-marriage of her Pakistani childhood friend Kaz. From the first meeting with the matchmaker to the big day itself Zoe learns about a culture and a practice that is completely alien to her own understanding… but perhaps she’ll learn something about it, and about herself. Is ‘assisted-marriage’ as it is now called ("Oh, like assisted-suicide" Zoe quips) a regressive practice? Is the world of Western dating a freeing alternative? Is there something to learn from allowing commitment to come first, and romance and love to build over time? What lengths will one go to in an effort to please their family? 

It’s just lovely. Really lovely. A laugh-out-loud script that reminded me of Richard Curtis via Gurinder Chadha, a story that takes you from A to B with very few surprises (if you want intrigue don’t see a rom-com) but plenty of smiles, perfectly pitched performances, and a refreshing take on the notions of romance and marriage. All of this is tied together with a sublime turn by Emma Thompson. She steals every scene as Zoe’s politically incorrect and gaffe-prone mother. Every time she was on screen I was somewhere between guffawing and wetting myself with laughter. I’ve seen it twice now and loved it both times, but what’s more important, my wife loved it almost more than I did. If I had one complaint, it is that in a noble effort to conform to the great rom-com formula, Khan doesn’t quite seem to have the courage in her convictions. There is a fascinating, heart-warming, and genuinely positive portrayal of assisted marriage throughout the film…but the laws of rom-coms are such that romance must win out. It’s only a small quibble, and it doesn’t ruin the film; but I was left slightly deflated that this exploration felt incomplete. Still…a small criticism. It’s wonderful. Go and see it!  

4.5 stars. 

The family dynamic  

Three very different films – horror, superhero, rom-com – with a common theme: family. Each film has the family dynamic as a driving force for the narrative. In Knock at the Cabin we have an ‘alternative family’ struggling not only with the trolley-problem on steroids, but also with doubt and constant suspicion. Is this real or a homophobic attack? Is our family chosen because people don’t believe we are a family? What does it mean to be a family that is entirely ‘chosen’? In Ant-Man the supposed emotional drive is Scott’s desperate wish to be part of his daughter’s life and make-up for lost time. There is a wonderful opportunity for tension and conflict when Kang (master of time as well as dimensions) offers to reward Scott by sending him back to before the snap to live out his daughter’s teenage years…squandered by sloppy storytelling, but a fascinating thought. In What’s Love Got to Do with It? Kaz is driven to seeking assisted marriage out of a sense of loyalty to his family, and the wish to begin a new one. 

Each film posits the family structure and the family relationship as fundamental to human life, and the base motivation for human action: fight to reunite family, marry to please family, let the world burn to preserve family. For Christianity this is not a simple issue. Christianity has inherited a great deal from its Jewish roots, and fecundity and family-life is viewed as a good. Family life is presupposed by St Paul when writing advice on how a bishop ought to behave, and the family is often called the ‘aboriginal church’: the simplest unit through which the Christian faith is taught and practised. 

And yet… Jesus refuses to see His mother and brothers and calls those listening to His teachings His mother and brothers; Jesus says that we will not have husbands and wives in the new heaven and new earth; Jesus also says to follow Him rather than bury our father; St Paul consistently argues that a single life devoted to God is to be preferred to marriage; the visions of Revelation suggest our time will be rather taken up with the worship of God (leaving little time to play catch or have a Sunday roast or argue over a game of Monopoly). 

In seeking to heal their familial wounds Scott and Cassie nearly destroy the multiverse; and please don’t believe that it’s their love that saves it…Michael Douglas and his giant ants save the multiverse.

For the Christian, family life is not and cannot be the highest good, for to make anything other than God one’s ultimate good is dangerous folly. In seeking to heal their familial wounds Scott and Cassie nearly destroy the multiverse; and please don’t believe that it’s their love that saves it…Michael Douglas and his giant ants save the multiverse. On a smaller scale, Kaz nearly destines himself to a life of misery in an effort to please his family. M. Night departs from his literary source to give a hopeful ending: rather than sticking as a family in the face of an apocalypse they could avert, Groff’s Eric chooses to sacrifice himself. Like all good things, family ties and family loyalties and family loves can be just as destructive as they are life-giving. 

The truth about the family that Christianity teaches is that the family is a wonderful and holy gift from God insofar as it reflects the goodness of God. Marriage is good and holy because it reflects and symbolises the love that Jesus has for His Church. Procreation is good because it fulfils God’s command for humanity to be fruitful. Family life is good because it is a space in which Christian love is able to flourish.  

As soon as we forget that family life is a reflection of God, family life becomes a burden – and this is so easy to do. We can fetishise family life, demonise or diminish those who do not have a family, ignore those who are happily single; and all of this is wrong and hurtful and damaging. The epitome of the family in the Christian worldview is one where the completely self-giving love, which we see perfectly in Jesus Christ, is allowed to grow and flourish. Oddly enough, this is why Knock at the Cabin has the most Christian depiction of family life. In spite of it being a gay couple with an adopted child (not an uncontroversial idea in the modern Church) it is the one family that demonstrates the principle of sacrificing one’s self for the good of the other. That is what family is – a place where we learn to be willing to die for those we love, and even for those we have never met, and so modelling the Jesus who dies for the sins of the world. 

Editor's pick
America
Culture
Leading
Politics
8 min read

Molly Worthen on the charismatic leaders of America's cosmic drama

The plots and plotters that hold us spellbound

Nick is the senior editor of Seen & Unseen.

Viewed from behind, Trump raises a fist.
Trump on the stump.
White House via Wikimedia Commons.

What happens when Americans lose faith in their religious institutions—and politicians fill the void? In Spellbound: How Charisma Shaped American History from the Puritans to Donald Trump, Molly Worthen sweeping history helps us understand the forces that create leaders and hold their followers captive. 
 
Everyone feels it. Cultural and political life in America has become unrecognizable and strange. Firebrands and would-be sages have taken the place of reasonable and responsible leaders. Nuanced debates have given way to the smug confidence of yard signs. Worthen asks just how did we get here? 
 
Worthen, a historian argues that we will understand the present moment if we learn the story of charisma in America. From the Puritans and Andrew Jackson to Black nationalists and Donald Trump, the saga of American charisma stars figures who possess a dangerous and alluring power to move crowds. They invite followers into a cosmic drama that fulfils hopes and rectifies grievances—and these charismatic leaders insist that they alone plot the way. 

Author and historian Tom Holland loved this book.  

“The great story of charisma in American history, from the Massachusetts Bay Colony to MAGA, has never been more thrillingly told, never more learnedly explicated.” 

In this extract, entitled Plotlines, Worthen introduces her four categories of charismatic leader: Prophets. Conquerors, Agitators, and Gurus.  

Plotlines

Over the past several years, whenever I told friends or family that I was writing a book about charisma, they responded with a reasonable question. Which charismatic figures would I include? They peppered me with suggestions: What about Elvis Presley, or Dolly Parton? Michael Jordan or Muhammad Ali? Surely I had to say something about Taylor Swift, right? 

None of these fascinating people appears in this book. As you read it, you will probably think of a dozen others whom you wish I had included, and I’m sure you’ll have a point. I have mostly stuck to individuals who worked to build a movement in organized religion or politics, rather than musicians, artists, or athletes. Even within the spheres of religion and politics, I’ve been selective in order to craft a manageable story and bring into focus the patterns and transformations of charismatic leadership over the course of American history. 

Sometimes this is an inspiring story, because charismatic leaders often turn up—and people decide to follow—out of a desperate response to alienation and injustice. People in anguish seek a savior. Yet charisma has no fixed moral standing. It can carve a path to freedom or to enslavement; it can lead people to embrace the rule of law or to sneer at it. Charisma causes problems for democracy as well as for authoritarian regimes. Without a sustained analysis of charisma over the long haul of American history since European settlement began, we are doomed to bumble along, blandly observing that ordinary people declare many allegiances that seem to contradict their own material interests and sabotage democracy—but never understanding why. 

Over the past four centuries, five types of charismatic leaders have surged to dominance, each offering a variation on the great paradox, a different way for followers to hand over control while feeling liberated. I use these categories both to classify leaders and their movements, and to chart historical change: each type reacts to the type that came before, and responds to the pressures and anxieties of its own era. Like all typologies, this one maps imperfectly onto real people. Almost no one is a “pure” example of these categories, and some leaders are interesting precisely because they react against their age’s dominant type. But these categories have compelled even leaders who defied easy labels—that’s most of them—to respond to the ascendant charismatic style of their age. 

The Prophets take us from the end of the Middle Ages into something beginning to resemble our own world. They drew on ancient patterns of contact with the divine to challenge authorities and captivate followers with the terror and ecstasy of God’s presence. They hewed close to tradition, operating in a time when Old World strictures still constrained life in the New World rather tightly. But some used those traditions to undermine reigning institutions, whether by violent rebellion or illicit gatherings—and so provoked a backlash. If the Prophets conceived of freedom in terms of divine salvation, they often harnessed mystical power for this-worldly ends. Usually this meant dismantling any structure that stood in God’s way. 

The Prophets were, essentially, destroyers. In their wake they provoked an age of builders. 

The Conquerors rose to prominence in the early nineteenth century—an age of mythology, mass media, and frontier enthusiasm in the European American imagination. They swung away from the age of the Prophets, who had so much to say about how powerless humans are. 

Some of the Conquerors wielded military power, but all of them pursued what we might call metaphysical conquest. They fought to control spiritual forces. As the predestinarian Puritanism of earlier generations lost its appeal, more people placed an almost fundamentalist faith in the power of free will. It was tempting to think of spiritual forces—perhaps even the Holy Spirit— as a kind of technology, ready for manipulation. The stakes in these campaigns were high at a time when new advances in science impinged on everyday life. Waves of immigration made the country more religiously and ethnically diverse. Americans felt both freer and yet more confined than ever before. 

The Agitators gained sway at the turn of the twentieth century, protesting modernity as a raw deal and democracy as tyranny in disguise. The Conquerors had, overall, expanded government authority over Americans’ lives and advanced a golden idea of progress. Now the pendulum swung back toward calls for destruction. The Agitators found a market for attacking the state and denouncing so-called progress as a lie. They defined themselves as outsiders whether they were or not, and discovered that gaining material power does not mean that one must stop telling a story of exile and affliction. This proved to be an important lesson in an age of world war and economic disaster: global crises have a way of transfiguring an outcast dissenter into a credible threat tot he standing order. Meanwhile, Christians grew wilder in their displays of New Testament charisma—because, paradoxically, it was easier to grapple with what Max Weber called the “iron cage” of modernity by embracing ever more outlandish signs of divine power. 

The Experts were, on the face of things, the Agitators’ opposite in charismatic style. They were builders. In the wake of World War II, they capitalized on a backlash against the nightmare years of fascist demagogues, embraced the zenith of traditional institutions’ authority across Western culture and politics, and nurtured Americans’ faith in the power of technology and bureaucracy to solve large-scale problems. 

They claimed the mantle of reason and procedure and did their best to relegate the political or religious clout of charisma to the distant past or primitive cultures. 

But in fact, the three decades after World War II witnessed an explosion of religious revival in America—led by Christians who spoke in tongues, looked for the end times, and claimed to heal through the power of the Spirit. Even in the domain of credentialed and supposedly secular healing, the line between medicine and spirituality grew fuzzier. These years were the Experts’ apogee of cultural prestige, but Americans’ long- standing ambivalence about intellectual elites persisted. The most successful leaders capitalized on those mixed feelings. They nursed the tension between the Cold War celebration of science and freedom and, on the other hand, the lurking sense that technological leaps obscured eternal truths and needed the organizing power of a good story. 

By the end of the twentieth century, as Americans lost faith in established media, churches, government, and nearly every other bulwark of modern society, the destructive strain of charismatic leadership re-surfaced in the form of the Gurus: preachers of self-actualization and get-enlightened-quick schemes, promoting God’s new temp job as personal assistant. Old-fashioned Pentecostal revival persisted too, but its leaders struggled to prevent the culture wars from capturing the Holy Spirit. 

The Gurus looked, at first glance, like the Prophets and the Agitators. But in the generations since those earlier eras, it had become harder to pay obeisance to tradition—which was just fine, since the erosion of institutions had weakened traditions anyway, and opened a path for Gurus to achieve more influence than their destructive predecessors. Religious and philosophical tradition, in the hands of the Gurus, was no longer a firm guide but a palette for painting illusions of independence. Sometimes they used it to depict a new reality impervious to fact-checkers. 

“Guru,” which means “remover of darkness” in Sanskrit, was originally a religious term. But in the third decade of the twenty-first century, the most prominent guru in the country was a businessman named Donald Trump. Trump was not, personally, a paragon of conventional religious devotion. Yet his political career depended on a hunger among his most dedicated supporters that can only be called spiritual. Like so many relationships between charismatic leaders and their followers, it stumped and angered those on the outside. Against the backdrop of the American charismatic tradition, however, his success makes perfect sense. 

How, then, did early modern mystics and Puritan heretics who heard the voice of the Holy Spirit give way to devotees at a modern presidential rally, jostling toward the candidate iPhone-first, praying for a selfie? By the early twenty-first century, most religious institutions in the West had declined into husks of their former authority—at least by the usual measures. Today commentators turn more than ever to materialist explanations for political dysfunction, polarization, and the culture’s general crisis of confidence. They cite growing social inequality, impassable disagreements on policy, persistent racism and xenophobia, evil automated forces lurking on the internet. All true—yet all insufficient accounts. If we define the religious impulse as a hunger for transcendent meaning and a reflex to worship, then it is a human instinct only slightly less basic than the need for food and shelter, and Americans are no less religious than they have ever been. They will always find a way to satisfy these desires, even if charisma carries them down strange and costly paths. 

 

Spellbound: How Charisma Shaped American History from the Puritans to Donald Trump, Penguin Random House, 2025.