Review
Culture
Film & TV
Trauma
8 min read

Meditating on violence

Violence is inherent to life - and a lot of movies. Yaroslav Walker asks if it has to be accepted, as he reviews Creed III, Scream VI and John Wick 4.
In a boxing ring, an umpire stands between two boxers who stare hard at each other.
Michael B. Jordan, Jonathan Majors, and Tony Weeks in Creed III.
MGM.

In March I watched a lot, A LOT, of violence. For me this has been a month of cinematic punching, stabbing, shooting, grappling…and its all been a bit exhausting. Oh well, let's get cracking with Creed III. The ninth instalment in the Rocky franchise has the temerity to exclude Rocky himself! I’m tempted to end the review there. No Stallone, I’m going home! It is a shame, and his presence is missed, especially when the Creed films have always felt a little like repeats of the Rocky Balboa saga. Creed III is somewhat of a mish-mash of Rocky’s III and V, and there’s nothing thematically new in this film.

So, it’s a little unoriginal and quite disrespectful to its origins…and yet I did enjoy it. Michal B Jordan makes his directorial debut, and he delivers a perfectly serviceable boxing film. Jordan’s Adonis Creed is living a perfect life: he ends his boxing career on top, has a beautiful wife and child, is running his own gym, and has found success as a boxing promoter. His idyllic life is interrupted when a figure from his youth returns, and Adonis realises that the one fight he can’t win is with his past. There are secrets, there are betrayals, there are home truths delivered and personal growth achieved; and of course there is a training montage and a climactic fight.

The plot is decent (if derivative), though rushed towards the end, and the script is solid. The performances are all fine and familiar - Jordan simply is Adonis Creed - with Jonathan Majors and Tessa Thompson being standouts. Thompson plays Adonis’ wife with a long-suffering air that subtly draws you in to an emotional dynamic that is fracturing. Majors is superb as Dame, the long-incarcerated childhood friend of Adonis’. He has the brutal physical presence needed, with his sudden, cautious, and jerky movements always reminding us that he has just come out of prison. His face is permanently set in a posture of desperation: desperate because in his eyes we see a terrifying combination of broiling rage and a deep, sad longing for love and support. Every second he is on the screen is a masterclass in building tension.

Jordan’s direction isn’t perfect, and he does indulge himself a little too much. He has spoken in interviews of his love for anime and how that has influenced his visual style (with some shots being homages to famous anime scenes). One moment in particular – where the crowd disappears during the climactic fight, and it is only Dame and Adonis in the ring sparring and raging – is just distracting and took me out of the drama of the moment. I can see what Jordan is trying to do, the innovation he thinks he is reaching for, but it fell a bit flat for me. Overall, its fine… quite fun even, and elevated more than it deserves by Jonathan Majors (he’s been doing that quite a lot for mediocre films lately). Buuuuuut…I stand with Rocky. You can’t do a Rocky film without Stallone, and no matter what anyone says this is indeed a Rocky film.

3 stars.

Scream VI

A woman concentrates as she pauses at gate in a set of tall railings.
Courteney Cox in Scream VI.

Scream VI was next. I know the question you’re asking: ‘Why do we need a Scream VI?’ Indeed. We don’t. We didn’t need a Scream 2! The original Scream was perfect and singular. It was a glorious satire of slasher tropes, done to perfection by a master of the genre. It was witty, gritty, violent, and hilarious. IT…WAS…PERFECT! To say that the steam has run-out by Scream VI is an understatement. It’s a limp and lifeless excuse of a film, trying to ape a satirical edge; except now it has decided to turn its satirical edge on itself. Now it is the tropes of franchises, and especially the Scream franchise, being dissected, except the scalpel of wit being wielded is so dull and uninspired the film is killed by blunt-force-trauma.

Perhaps to try and overcome this, the kills have now become unreasonably brutal (far too much so for a 15 rating). The camera seems to linger on the wounds and the pain inflicted with an adolescent glee that is deeply unpleasant. There are a few enjoyable and tense set-pieces (one involving a ladder precariously perched between two high-rise windows), but their impact is undercut by the film’s general awfulness. The cast is hamming it up to a ludicrous degree, seemingly without any sensible direction. The returns of veterans Courtney Cox and Hayden Panettiere are welcome until they try to deliver their lines…and who on earth thought they could make a Scream sequel without Neve Campbell!? You can’t do Rocky without Rocky, you can’t do Scream without Sidney!

1 star.

John Wick 4

A hero and armoured opponent stand ready to fight.
Keanu Reeves in John Wick 4.

Finally, I settled down to what I knew would be a comforting friend of a film: John Wick 4. The man in black, all long hair and long stares, gun-fu and jiu-jitsu, is back…and he bored me, a little. I’m so sorry to say it, and I will force myself back to the cinema to see it again to make sure I wasn’t just in a bad mood, but I really did get bored. When John Wick hit the screens in 2014 it was like a sucker-punch. It was a bonkers B-movie coming out of nowhere, that built up a bit of pace and then went hell-for-leather, and it was glorious to behold. Director Chad Stahelski’s Hollywood career had been as a stuntman and stunt coordinator, and he brought all that knowledge to create a gorgeous, gory ballet of hand-to-hand combat and frenetic gunplay saturated in neon and drowned in darkness.

It was, like Scream, a perfect one-shot. It gave us an iconic laconic Keanu Reeves performance, magnificent action, and a beautifully compact story that alluded to a larger world of assassin culture but left it for the audience to build this world in their imagination. Three sequels later and I find it all a bit of a drag. Everything is pumped-up, everything is bigger, everything is louder, and more and more people get shot… yet it’s all a bit repetitive. Every set-piece is the most fantastically choreographed dance, but they drag on too long. The assassin world has been built with a ludicrous operatic grandeur, but that takes some of the imaginative fun out of it for the audience. I’m not sure anyone really needed more John Wick in their life.

On the plus side: it looks gorgeous, it is shot masterfully, Reeves is spectacular and looks like he’s having the time of his life, and his interaction with Donnie Yen (himself on superb form) is joyous. On the downside: it is too long, it is too repetitive, and I’m not really sure what Mr Wick is doing any of this for anymore. The beauty of John Wick was the simple motivation: revenge for a murdered dog. By John Wick 4 that narrative simplicity – the real strength of the franchise – has disappeared. I did have a good time to a degree; every twenty minutes or so I’d get sucked into a set piece and marvel and what Stahelski and Reeves are able to accomplish, but then it would very quickly fade and I’d be bored again. It gains points for excellent (if far too brief) usage of Clancy Brown and Hiroyuki Sanada… Hiroyuki Sanada is enough to see any film. It loses points for Bill Skarsgård’s performance (a rare miss from him) and the Scott Adkins fat-suit…when you see it, you’ll know. The film is like junk-food: an initial rush followed by a bit of queasiness. But Reeves, Yen, and Sanada raise the standard…oh, and Ian McShane!

3 stars.

A mildly disappointing month, and at first I wondered if it was the sheer amount of violence I’d watched. Sporting violence, murderous violence, balletic violence…was it all a bit too much? The more I’ve reflected the more I think this can’t be the case – I blame my disappointment, now, on franchise fatigue. It can’t be the violence, as violence is a vital part of the Christian story. As I write this review the Church is about to enter Passiontide: the last two weeks before Easter, where we meditate on the final days of Christ’s life. Violence - the violence of Jesus’ arrest, scourging, and crucifixion - is an essential part of the story. The horror and pain of Jesus’ Passion must be meditated on, because only then can we see the wonderful and transformative power of God, who raises Christ from the dead.

Violence is an inherent part of the Christian story: Cain and Abel, the wars of the Israelite Kingdom, the oppression of the Jews under the Roman Empire, the Passion of Christ, and the fact that from the beginning of the Church to the present day there are Christians made into martyrs (those who dies rather than deny the faith). Violence and death are not some things that can be avoided, and we shouldn’t try. We ought to face up to the difficult truth that we live in a world that is often violent and painful. When we do, we begin to see those serendipities that reveal the ultimate truth - a life of pain and struggle is not our ultimate destiny.

Violence and pain, and ultimately death, are those things which God’s goodness and love will overcome. Every wrong is an opportunity for forgiveness. Every tragedy is an opportunity to show love and charity to one’s neighbour. This is not to diminish violence and tragedy, but to recontextualise it, to transfigure it. This is what Christ does on the Cross - he takes death and transfigures it into eternal life. This is what was so depressing and dissatisfying about the violence in Scream VI: it was meaningless, and for its own sake. In Creed III the violence is for sport and for the resolution of tension, and in John Wick IV the violence is a performative dance more than an actual assault, but in Scream VI its just there to leer at. Christianity accepts violence as a fact of the world, but never a fact in itself and for itself. Violence and pain are not to be ‘accepted’ - like all aspects of creation, good and bad, they point to the deeper truth that God is always working to save the world that He created in love and to bring it to Himself. This is what we can see in the aftermath of violence. This is what we can see in the aftermath of the Cross

Article
Comment
Feminism
Migration
Trauma
6 min read

“Defending our girls” is less about safety, more about scapegoating

The men who finally care about violence against women — just in time to blame immigrants for it

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A protestor holds a blue smoke canister towards the camera lens.
An asylum hotel protester, Epping.

Something has profoundly shifted in the way we are speaking about male violence against women and girls. Or perhaps I should say, the shift is precisely that we are speaking about male violence against women and girls.  

Wait.

Would you allow me to slightly amend that statement once more?

I say ‘we’ are talking about it, what I really mean, if I may be so blunt, is ‘men’. Men are talking about male violence against women and girls.  

Therein lies the shift. 

Women have been speaking about this epidemic of violence for years, they have been having endless conversations about the complexities of their own sense of sexual safety, relentlessly sounding the alarm. And, all too often, being ignored. It has so commonly felt as though women could scream about this topic at the top of their lungs and be met with an exasperated eyeroll. Perhaps that’s ungenerous of me, maybe the lack of political interest has been more about despondence than disbelief. Either way, it has continually appeared as though male violence against women and girls has sat, slumped and hopeless, at the bottom of the political agenda.

Until now, that is. Now, it is the crux of many campaigns, sitting right at the forefront of multiple political conversations. One conversation, in particular.  

Earlier this year, Conservative MP, Robert Jenrick, wrote an article in which he stated that he fears for his daughters’ safety, not wanting them to live near ‘men from backward countries who broke into Britain illegally and about whom you know next to nothing’. Political party Reform UK has a concern for women’s safety sitting at the forefront of their campaigns; again, Nigel Farage (leader of Reform UK) has continually suggested that it is the immigrant communities in the UK who are posing the threat. Signs that read ‘defend our girls’ have been ever-present at many of the anti-immigration protests that have happened throughout the summer months, the same phrase was chanted by those taking part in the ‘Unite The Kingdom’ march, organised by far-right activist, Tommy Robinson.  

So, we have a direct line being drawn between immigration and the epidemic levels of violence against women and girls. A common enemy is a powerful thing, isn’t it? A uniting thing? An energising thing, even? This line from A to B (‘A’ being the violence and ‘B’ being people who have come to this country from another) is one that I cannot draw myself. I find no biblical nor sociological justification for doing such. In fact, I’m hit with quite the opposite. 

I’ll get biblical, but shall we start with the sociological?  

Violence against women – be that physical, verbal, sexual, financial, or any other nuanced kind – is a tragic reality here in the UK, as well as globally. We know this and there can be no denying it.  

One in three women will experience domestic abuse.  

A woman is murdered by a partner/ex-partner every four days.  

One in two rapes against women are carried out by a partner/ex-partner.  

More than 90 per cent of perpetrators of rape and/or sexual assault are known to their victims.  

One in three adult survivors of rape experience it in their own home.  

These facts are heartbreaking, stomach-churning, worthy of our indignation and fury. They do not, however, imply that the dominant threat to women are strangers who have come to UK from other countries. Such claims, while being spoken of loudly and continually, are unfounded.  

There’s almost an ‘if-only-ness’ about such claims, isn’t there? And so, if I lower my hackles, I can sympathise with wanting such claims to be true, albeit momentarily - if only we could solve male violence against women and girls so easily.  

If only it were so neat.  

Instead, we have to sit in the utterly overwhelming, and often debilitating, reality that violence is being carried out against women in every age group, every socioeconomic group (although it must be acknowledged that women who can’t access public funds, such as welfare support or housing assistance, are three times more likely to experience violence), every ethnic group, and in every corner of the country. As a woman, if a man is shouting at me while I’m alone – it makes no difference what language he’s shouting at me in, tragically, I’ve learnt to be scared regardless.  

The notion that it is an imported problem that can therefore be a deported problem, is wrong. And, dare I say it, undergirded by racism.  

It’s perhaps also worth mentioning that there is footage from the recently held ‘Unite the Kingdom’ march, during which the mandate to ‘defend our girls’ was continually chanted, of men chasing female counter-protesters down the street. While a call to defend women was chanted one minute, a call for women to expose themselves was chanted the next. Furthermore, it has been reported that 40 per cent of those arrested during the 2024 anti-immigration protests had previously been reported to the police for domestic abuse. In my home city of Bristol, it was two-thirds of those arrested.  

So, while women’s safety seems to be at the forefront of political and social movements right now, I can’t help but be deeply suspicious of the intentions behind it. It seems to me that the same people who have spent the last five-or-so years responding to women’s pleas for help with an irritated ‘not all men’ chant, are now more than happy to point at a marginalised group of people and declare ‘but probably all those men’.  

But this isn’t simply sociological, nor is it purely political. For me, there are theological reasons why I can’t help but wince at what is happening.  

I simply don’t think the Bible gives us the option of pitting one marginalised group against another; it’s clear on the fact de-humanisation can never be a tool in our societal toolbox. In fact, if we’re going to get biblical with it, vulnerable women and ‘migrants’/’foreigners’/’strangers’/’sojourners’ – they’re always on the same list.  

‘He defends the cause of the fatherless and the widow, and loves the foreigner residing among you, giving them food and clothing’ – that’s the book of Deuteronomy. And this – ‘Do not oppress the widow or the fatherless, the foreigner or the poor. Do not plot evil against each other.’ – is the book of Zechariah.  

I could go on.  

We have a shared humanity and, therefore, a sacred responsibility to protect both the women and girls who are facing unspeakable injustice, and those who are being unfairly scapegoated for it. It’s an uncomfortable tension, I can’t deny it. It refutes quick-fixes, it raises its eyebrows at cheap blame, and it absolves any comforting notion that the problem flows from elsewhere - Christianity simply does not offer such a luxury. Compassion cannot be finite, love – as Graham Tomlin has argued – cannot be a limited commodity. 

And this is precisely why such things being increasingly carried out in the name of Christianity makes no sense to me. Surely, this cannot be espoused in the name of the Jesus who destabilises the boundaries between ‘Our Sort of People' and 'Those Others Over There?’ (to quote Francis Spufford)  

We cannot be fooled, fear and distrust on the basis of someone being different from ourselves is not – I repeat, not - a Christian value. One vulnerable group’s pain being unjustly weaponised against another vulnerable group has no hint of Jesus about it. Plus, doing so knowingly compromises the care we can offer to both groups. 

I’m getting a little weary of being told that, as a woman, this hate will ensure my safety. Both sociologically and biblically, I’ve found the grounds to call time on such a claim. 

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