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Son Of God

March 6, 2014

Non-Stop (** ½) PG-13

The latest entry in what is quickly becoming the annual Liam Neeson Action Movie Sweepstakes, Non-Stop, is a serviceable yarn that’s likely to please non-discerning fans of both action films in general and the veteran Irish thespian. Non-Stop is what I would imagine famed mystery novelist Agatha Christie might have come up with if given the task of setting a mystery aboard a commercial jet liner. Since she’s not around, having died nearly forty years ago, the task was given instead to a team of writers—John W. Richardson and Christopher Roach—who won’t soon be confused with Christie in terms of talent, but get the job done nonetheless. The film is meant to be nothing more than a crowd pleasing thrill ride, with the occasional plot twist thrown in for good measure. On those terms alone the film more or less works.

The opening scenes pretty much follow the template that most of these types of movies tend to. We’re given just enough information in the film’s opening scenes to let us know that Federal Marshall Bill Marks (Neeson), has some serious personal problems.

Julianne Moore & Liam Neeson in Non-Stop

A short scene pointing to a potential drinking problem and a shot of a photo of little girl, most likely Marks’ daughter, alert us that all is not well in the man’s personal life. We know right from the beginning that should something go awry on Marks’ current flight, he’s probably going to be the scapegoat, which proves to be true when the film’s plot begins to take shape.

Marks begins to receive texts alerting him that if a large sum of money isn’t deposited into a certain bank account within twenty minutes, one of the passengers that Marks is assigned to protect is going to die and another passenger will die every twenty minutes after that until the demands are met. Once bad things start happening, Marks is quickly painted as a loose cannon and things quickly spiral downhill when a passenger uploads a video of Marks seemingly taking hostages. It’s up to Marks to find out the true identity of the terrorist/killer before things get any worse. Along the way, Marks develops a relationship with a fellow female passenger (Julianne Moore) who has problems of her own and the two manage to bond in the midst of the chaos.

The film is directed by Jaume Collet-Serra, who also helmed Neeson’s previous action entry of three years ago, Unknown. He does an ample job of building the suspense and the film’s final act does offer some nice disaster-styled shenanigans that harken back to the Airport films of the 1970s and will please astute film fans old enough to remember that film franchise of yore. For the younger generation of filmgoers who don’t remember those films, Non-Stop might just be unfamiliar enough to please.

Son of God PG-13

By Justin Chang,

Variety (AP)

With Darren Aronofsky’s Noah and Ridley Scott’s Exodus preparing to duke it out for Old Testament auteur supremacy, Hollywood’s religious renaissance gets off to a none-too-spectacular start with a chewed-over New Testament appetizer called Son of God. A clumsily edited feature-length version of five episodes from History’s hugely popular 10-hour miniseries The Bible, this stiff, earnest production plays like a half-hearted throwback to the British-accented biblical dramas of yesteryear, its small-screen genesis all too apparent in its Swiss-cheese construction and subpar production values. Yet while Jesus’ teachings have been reduced to a muddle of kindly gestures and mangled Scriptures, the scenes of his betrayal, death and resurrection crucially retain their emotional and dramatic power, which the charitable viewer may deem atonement enough for what feels, in all other respects, like a cynical cash grab.

As the first quasi-big screen account of the life of Jesus in the decade since Mel Gibson’s far more contentious The Passion of the Christ, Son of God should capitalize sufficiently on church-based word of mouth to intrigue if not galvanize Christian moviegoers. Although some scholars have taken issue with the series’ deviations from the Bible, the film arrives in theaters bearing pre-packaged endorsements by such prominent spiritual leaders as Rick Warren, T.D. Jakes and Sam Rodriguez, some of whom served as advisers to the TV project spearheaded by husband-and-wife exec producers Mark Burnett and Roma Downey (who retain their producing credits here, as does co-writer Richard Bedser).

``In the beginning was the Word,’’ the gospel writer John (Sebastian Knapp) intones early on, his revelation in the miniseries having been repurposed as a framing device here.

Diogo Morgado in Son of God

From there the film plunges into a clumsy Old Testament highlights reel, a marketing tie-in for The Bible that gives viewers just enough time to wave to Adam and Eve, Noah, Abraham and some god-awful CGI before depositing them at the scene of the Christ child’s birth.

Gone are the formative elements of Jesus’ upbringing and his temptation in the wilderness, reportedly due to complaints that Satan (as played in the miniseries by actor Mehdi Ouazzani) bore a suspicious resemblance to President Obama. The story proper begins as Jesus (handsome, sleepy-eyed Portuguese actor Diogo Morgado) calls forth his disciples at the Sea of Galilee and begins his compassionate ministry of teaching, healing and prayer.

And so, in fairly rapid succession, Jesus restores a paralytic, feeds the 5,000, and walks on water in a stormy sequence that suggests a relic from the Cecil B. DeMille era. In this abbreviated, arbitrary approach to biblical interpretation, the greatest story ever told becomes a checklist of miracles, and Jesus’ words and deeds, far from carrying the shock of radical epiphany, feel obvious and preordained. Time, or at least running time, is clearly of the essence: Miracles and lessons are expediently juxtaposed, and the Sermon on the Mount plays more like the Sermon on the Montage. Although he occasionally pauses to speak in parables, this Jesus is not above getting right to the point for the benefit of a busy 21st-century audience.

Elsewhere, schlock aesthetics prevail: When the sneering Pharisees attempt—and fail—to condemn a woman caught in the act of adultery, their stones fall to the ground in slow-motion, each one landing with a Dolby-amplified thud. While we are clearly a long way from the raw austerity of Pier Paolo Pasolini’s masterpiece The Gospel According to St. Matthew, or the rigorous integrity of Philip Saville’s word-for-word 2003 adaptation of The Gospel of John, a cinematic adaptation of Scripture nonetheless demands style, poetry, vision or, barring that, a point of view—none of which seems to have been part of the assignment handed to directors Christopher Spencer (who helmed the three episodes from which the pic is chiefly drawn), Tony Mitchell and Crispin Reece.

Son of God, a 20th Century Fox release, is rated PG-13 by the Motion Picture Association of America for ``intense and bloody depiction of The Crucifixion, and for some sequences of violence.’’

Non-Stop & Son of God are playing at the Carmike in Hickory, and other area theaters.

Questions or comments? Write Adam at



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