From the Chicago Reader (March 3, 1993). — J.R.
Despite the title, I assumed this drama about the last 12 hours of Jesus’s life would include something about his teachings, at least in flashback. But the Sermon on the Mount is reduced to two sound bites, and miracles and good works barely get a glance; director Mel Gibson stresses only cruelty and suffering, complete with slow motion and masochistic point-of-view shots. The charges of anti-Semitism and homophobia hurled at the movie seem too narrow; its general disgust for humanity is so unrelenting that the military-sounding drums at the end seem to be welcoming the apocalypse (rather like the mass slaughter following the Mexican rebel’s torture in The Wild Bunch). If I were a Christian, I’d be appalled to have this primitive and pornographic bloodbath presume to speak for me. With James Caviezel, Maia Morgenstern, Monica Bellucci, and Hristo Naumov Shopov; Benedict Fitzgerald (Wise Blood) collaborated with Gibson on the script. In Aramaic, Latin, and Hebrew with subtitles. R, 127 min. (JR)
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In the Fray
By Jonathan Rosenbaum
Dec 28, 2001 11:37 AM
Dear David, Roger, Sarah, and Tony,
I’m afraid that going to see Monster’s Ball or Black Hawk Down for the purposes of this exchange isn’t even an option for me. Neither has opened yet in Chicago, and though the first and possibly the second got special screenings for local reviewers willing to go beyond Chicago for their 10-best lists, I feel my first duty is to address what Chicagoans can see in my own list for the Reader. In any case, I’m looking forward to seeing Monster’s Ball because of my liking for Billy Bob Thornton and Halle Berry, but the very thought of going to see any war film for pleasure right now gives me the creeps. Though, come to think of it, I’d probably rather see Black Hawk Down than even think again about Audition, one of David’s favorites — a movie whose view of mankind, including audience members, is for me a lot bleaker than anything found in A.I.
On the other hand, like Roger, I could cite some first-rate movies that exist mainly on television, such as Spike Lee’s A Huey P. Newton Story (which I saw at the Vancouver International Film Festival), even if it’s basically a record of a powerful performance by Roger Guenveur Smith, or Code Unknown, which I saw on the Sundance Channel (where it’s been playing for ages) on Christmas Eve, and which opens here theatrically next week.… Read more »