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
Creed
Politics
Suffering
Trauma
6 min read

Dear Kemi, about that lost faith

Who stands with us when we suffer?

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Kemi Badenoch sits and talks.
Kemi Badenoch.
ARC.

Dear Kemi (if I may)

Lost faith is usually a sad tale. And you have told us how you lost yours. I hear your grandfather was a Methodist minister, and so as a young girl, you would pray, seeing answers from time to time for longer hair, good grades and the like. But when you heard the story of Elizabeth Fritzl, whose father Josef kept her captive underground for 24 years, repeatedly raping her, you began to ask why God did not answer Elizabeth’s prayers for release. And so you gave up on God.

Now I have real sympathy for you. I have struggled with this too. The Josef Fritzl story and the suffering he inflicted on his daughter is truly horrific. None of us find the problem of evil easy. In fact, I have never yet met a Christian who thinks they have solved it. Yet the remarkable fact is that many of us believe in God anyway. And it’s not because we haven’t thought deeply about it. Many people start with a simple faith in a God who answers prayers, and yet one day, they come across what seems like an anomaly – that some prayers don’t seem to find an answer.

Of course, you’re not the first to have stumbled upon the problem of unanswered prayer. For centuries, Christians have pondered deeply the strange persistence of evil in the world, from St Irenaeus to St Augustine, to Thomas Aquinas, to any number of modern theologians.

They all knew that not all prayers get answered – yet even more, they knew that this is not a marginal thing for Christians, it actually lies at the very heart of our faith.

On the top of every spire, on every altar of a church, around many Christian necks, is a cross. It recalls the excruciating death of an executed innocent man. It is the universally recognised symbol of Christianity, as recognisable as the Islamic crescent or the Jewish Star of David.

Christianity centres on this remarkable claim: that God allowed his Son Jesus to die a cruel and tortured death, and did not respond to his agonised prayer: “My God, my God why have you forsaken me?” All he got was silence. Nothing.

So unanswered prayer is not something that lurks at the margins of Christian faith as a guilty secret. It lies at the very heart of it.

And yet I still believe. Why?

Why does God not intervene to stop the suffering of the world? Why did not God not stop the holocaust? Why does he not stop the suffering of the people of Gaza? Or the Israeli hostages? Or people who suffer from debilitating depression? Or long-term mental illness?

The answer is I don’t know. And why should I? For all I know, God might stop all kinds of things from happening – by definition I don’t know about thing that don’t come to pass. Yet I have to assume that God does not intervene to stop the vast majority of the suffering we inflict on each other. The best I can say is that he seems to allow us to have our own way, giving us the courtesy of accountability for our own actions. As a conservative politician, keen to stress personal responsibility, you should know that more than anyone.  

Josef Fritzl was the cause of his daughter’s suffering, not God. Fritzl was himself the child of an alcoholic father who abandoned him when he was four-year-old and a manipulative and abusive mother who brought him up thereafter. Not that this excuses his crimes for a moment, but he was part of a chain of sin and suffering handed on from one generation to another that stretched back through his parents, their parents, back to the very beginning of human history and beyond. Evil and suffering are part of our world. Christianity knows about evil all too well.

All this might hint at an answer, yet it still doesn’t satisfy. It still doesn’t reduce the suffering. Trying to explain it doesn’t make it any easier to endure it. In fact, if what we Christians say about evil is true, we cannot explain it because evil literally makes no sense. It is the absence of sense, the absence of meaning. It has no point, because it is literally pointless.

The real reason we Christians continue to believe is not that we have a neat answer to it, nor because we haven’t thought about it, but because we know that, paradoxical as it may sound, God himself, in the person of Jesus Christ, knows what it is to pray for something and not get an answer. He has been there too. Somehow, mysteriously, he stands with Elizabeth Fritzl, with Israeli hostages, with Palestinians hungry for peace and food, and with us when we cry out and apparently get no answer. In those moments, we are not, in the end, alone.

And yet, there is more. Despite that fact that we cannot explain the tangled, dark mysteries of evil in the human heart, we have been captivated by a story that tells us it has been overcome. Yes, Jesus died. Yes, he felt abandoned by God his Father. Yet the way the story turned out, the evil done to him was not the last word. God overturned the worst that the human race could do, when the most remarkable thing happened - his cold, abused, bloodied and battered body stirred once more into life. Yet this was not a return to this weary life all over again, back into the maelstrom of suffering and pain that we know it to be, but through the other side into a form of life beyond the grave that cannot be destroyed. Jesus was not ultimately abandoned, even if he, like us, like Elizabeth Fritzl, felt like it at the time.

This is what we get – not a neat answer – for that we will have to wait – but the gift of hope that it will not always be like this, that the Resurrection of Jesus is a foretaste of the Resurrection of all things one day.

And what about what you called your ‘stupid’ little prayers about hair and boyfriends? Why did they get answered and others didn’t? Again, I have no idea. It does seem that from time to time, God does something weird, brings some unexpected healing, things turning out miraculously better than expected, an unforeseen delight. Yet these are just hints, small signs of the great miracle, the Resurrection and the defeat of death. They are hints that even though God will not unravel the moral fabric of the world by intervening every time we do something wrong, occasionally we are given a small sign that he has not given up on the world and will one day flood it with his presence. They are signs to remind you, me, that all the good things we receive each day - food, sunshine, rain, air to breathe – are not accidents but come from a God who gave them to us out of love, and that evil is the anomaly, not goodness. We are left with a question – would we rather a world where that kind of surprising & delightful event never happened? Or one where it occasionally did?

The Resurrection is the ultimate reason we believe. Not because we can explain evil. But because it tells us we are not alone in our suffering. Because it tells us that evil is real, but in the end, will be banished to the pit from which it came. And because the alternative, when we think about that deeply enough – a world where monsters like Josef Fritzl get the last word – where hope is whistling in the dark and evil wins - is intolerable.

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