Hollywood Actresses Put Family First


Hollywood Actresses Put Family First

By Diana Tyler, Contributing Writer

Actress Mila Kunis (“The Book of Eli,” “That ‘70s Show”) recently told W Magazine that after her baby with fiancé Ashton Kutcher is born, she plans to become a full-time mom. While most Bible-believing Christians would agree that Kunis’s having a child out of wedlock isn’t something to be celebrated, her decision to step out of the spotlight for a while in order to focus on her child is certainly commendable, especially when one considers the fame-seeking, celebrity-crazed, “selfie”-obsessed society in which we live.

Ms. Kunis isn’t the first actress to bid farewell to Hollywood’s glitz and glamour after becoming a mother.

Jennifer Garner (“13 Going on 30,” “Dallas Buyers Club”), who was named the 2012 Celebrity Mother of the Year by Today’s Parent Magazine, said after her first daughter was born that “having a baby fills your life in such a way that no matter what you’re doing, there’s something bigger.” Her husband Ben Affleck has praised her in several interviews for the wonderful supporting role she plays in their marriage as a loving and encouraging wife, as well as being a hands-on mother:

“She is by leaps and bounds the most important person to me. . .. Over the past 10 years she has allowed me to have a stable home life while accomplishing my professional goals.”

Reese Witherspoon (“Legally Blonde,” “Walk the Line”), Julia Roberts, Angelina Jolie, and Jessica Alba are also examples of successful actresses who thoughtfully plan their filmmaking schedules around their kiddos’ calendars.

Reese Witherspoon told iVillage, “I only do one movie a year so that’s about three months out of the year, and the rest of the time I’m kind of a stay-at-home mom. I have an office so I go to the office while the kids are at school. But, … I go to the basketball game and the horseback riding competitions and all that kind of stuff, and I really enjoy being a parent. It’s a real grounding experience. . . It’s fun.”

In an interview with the Daily Mail, “Nanny McPhee” star Emma Thomspon said, “You can’t be a great mum and keep working all the time. I wanted to spend more time with my family. A year off was my birthday present to myself. I didn’t actually act or write. I was just a mum. I highly recommend others to do the same, if they can afford it.”

“Sex and the City” star Sarah Jessica Parker told InTouch, “I’m at home for a lot of the year. I’m not always shooting movies. And, I want to make sure people know, stay-at-home moms are working harder than a lot of us can comprehend. It’s not easier at home!”

Being a mom not only inspired Jessica Alba to embrace her maternal side, but also to start The Honest Company, a family and eco-friendly brand that provides natural diapers, body care, and non-toxic cleaning products. She also founded the Baby2Baby charity.

Alba shared with Los Angeles Confidential that she “[loves] everything about [being a parent]. . . I didn’t even know it was possible to have this much love and joy and happiness in my life. It’s overflowing, unconditional, and selfless. I never experienced that type of thing before I had kids.”

In her interview with W Magazine, Mila Kunis explained, “I have never wanted to be the person who only has business on her mind. To me, this job has always been a hobby that turned into a great profession, but I don’t eat and breathe acting. I’m sure Meryl Streep has a very different point of view. But I’m excited about being a full-time mom.”

Though actress Kirsten Dunst (the original “Spider-Man” trilogy) is not yet a mother, she shared her views on femininity with the U.K. edition of Harper’s Bazaar back in May, stating:

“I feel like the feminine has been a little undervalued. We all have to get our own jobs and make our own money, but staying at home, nurturing, being the mother, cooking — it’s a valuable thing my mom created.”

The actress continued, offering her opinion on the topic of relationships:

“And sometimes, you need your knight in shining armor. I’m sorry. You need a man to be a man, and a woman to be a woman. That’s why relationships work.”

Not surprisingly, her statements elicited an uproar of mockery and vitriol on social media and feminist blogs. “Jezebel” (interesting title for a blog if you ask me!) blogger Erin Gloria Ryan titled her reaction to Dunst’s remarks, “Kirsten Dunst Thinks Ladies in Relationships Should Wife the [expletive] Out” and wrote that Dunst, an “actress and blonde who looks good in clothes,” is “dumb about [gender theory]” because she isn’t paid to write about it.

On Uproxx.com, Stacey Ritzen called Dunst an “insufferable person,” titling her write-up, “Kirsten Dunst Thinks That Women Should Know Their Place Is In The Home,” which isn’t, by any stretch, what Dunst said at all.

While it’s true that neither Dunst nor most of you reading have controversial, politically correct Ph.D.s in “Women and Gender Studies,” we do have at our disposal the ultimate resource on gender roles – the Bible.

As followers of Christ, the world and its fickle, ever-changing attitudes and opinions on issues such as gender, marriage and morality is not to inspire the way we lead our lives, nor is it to inform our identities. On the contrary, the immutable, transcendent, inerrant Word of God is the His divinely-breathed guidebook, if you will, from which we are to discover truth, seek wisdom, find peace, and obtain answers that may all fly in the face of what our current culture has deemed popular, enlightened, or “progressive.” Second Timothy 3:16 says:

“All Scripture is inspired by God and is useful to teach us what is true and to make us realize what is wrong in our lives. It corrects us when we are wrong and teaches us to do what is right” (NLT).

So, what does Scripture have to say about the duties of women?


I ORIGINS is an entertaining, provocative science fiction drama dealing with spiritual issues. Although the worldview endorses the supernatural, it also endorses reincarnation, a false Eastern philosophy.
Dr. Ian Gray is a molecular biologist. He and his research partner, Karen, are studying the “evolution” of the human eye. At a late-night Halloween party, during his college years, Ian encounters and meets a shadowy masked woman with marvelous eyes with whom he has a brief sexual encounter. After their encounter, she vanishes before she can reveal her name. After some investigation and a series of extraordinary coincidences, Ian is directed back to this young, mysterious masked woman, whose name he discovers is Sofi.
Shortly after they officially meet, Ian and Sofi begin a romantic relationship and fall in love. During their courtship, Ian discovers Sofi is a passionate believer of Eastern spirituality. Sofi’s spiritual beliefs are concerning to Ian because of his scientific knowledge and background, but it doesn’t discourage him from continuing their relationship and wanting to marry her.
During the day that’s supposed to be their wedding day, Sofi suddenly dies after she’s cut in half by a malfunctioning elevator. Ian heavily grieves her death.
Several years pass, and Dr. Ian Gray has a successful career in molecular biology and has married his research partner, Karen, who’s expecting their first child. After the birth of their son, their son undergoes a study to detect autism. This leads Ian and wife Karen to investigate the study’s credibility. Eventually, they discover a connection between science and the supernatural that has far-reaching effects on people’s beliefs, and even change society.
I ORIGINS undoubtedly contains a pagan worldview, specifically Hinduism and reincarnation. Although there are elements of humanism and an evolutionary worldview displayed by the protagonist, these elements and worldviews are ultimately used to support spiritualism, the supernatural and religious beliefs. Ian’s humanist efforts (such as his study of the evolution of the human eye) lead him to pagan conclusions about religion and reincarnation.
Despite the movie’s undeniable presentation of paganism, I ORIGINS does mention God (the intelligent designer and creator), spirituality and the supernatural. The movie seeks to discover the meaning of life, which can be found in God, spirituality and the supernatural. From a Christian theological perspective, this supports the concept that humans are inherently designed by God to believe in the supernatural. The words of C.S. Lewis summarize this idea: “If I find in myself desires which nothing in this world can satisfy, the only logical explanation is that I was made for another world.” Of course, in this movie, this idea is distorted by paganism (Hinduism and reincarnation), so viewer discretion is advised. Christians should be careful not to let such pagan beliefs distort their Christian theology.
Although I ORIGINS contains a heavy pagan worldview, the movie is fairly pleasing and entertaining. Most of its high quality stems from the acting, cinematography and the way the story is constructed.
The acting performances, especially Michael Pitt’s, are excellent. His performance convinces the audience of his character’s passionate atheism, his quest to disprove religious beliefs, the pain he feels after Sofi dies, and his powerful “conversion” at the end of the movie. Pitt’s excellent performance takes the audience on an emotional roller coaster that causes the viewer to sympathize with his character.
The brilliant cinematography contributes to the overall aesthetic value of I ORIGINS. There are certain moments in the movie captured by the camera that evoke a particular emotion in the audience. For example, the scene when Sofi is joyfully swirling, dancing and parading in slow motion as she heads to the courthouse to get married to Ian is engaging. The audience feels Sofi’s happiness and knows that this beautiful moment is only significant because it’s captured in slow motion.
Overall, the plot and plotline of I ORIGINS are enticing, but, sadly enough, they are predictable. Early in the movie, the audience becomes aware that the movie is advocating spirituality. Consequently, as soon as Sofi dies, the audience knows that somewhere toward the end Ian will have some sort of spiritual encounter. This ruins and interrupts the dramatic direction that the movie tries to take. This also causes the audience to become disinterested, tune out and stop expecting the unexpected. Nonetheless, the story, although distorted by a pagan worldview, of an atheist becoming a believer in the supernatural is beautifully told.
Overall, I ORIGINS is a profound movie that contains a heavy pagan worldview and a distorted perspective on spirituality. So, Christians must be careful not to follow the movie’s pagan theology, but rather be discerning and able to speak reasonably about the heresies contained in other religions.


MOOD INDIGO is a quirky, surrealistic French movie from inventive filmmaker Michel Gondry. It’s a tragic-comic love story about a wealthy bachelor and his paramour, who suddenly develops an unusual illness after they get married.
The story opens with the rich bachelor, Colin’s, best friend visiting Colin’s quirky house. Colin shows his friend one of his inventions, a “pianococktail” which makes cocktails! Colin’s trusty chef, a black man named Nicolas, makes tasty dishes for Colin and his visitors, and the food and plates literally dance around the table and automatically clean themselves up. The movie also shows a man in a mouse suit, who plays the mouse that lives in Colin’s floorboards.
Colin and his friend, Chick, are into Duke Ellington jazz and swing music. Chick invites Colin to a party to introduce Colin to Chick’s new American girlfriend. Colin goes to the party in hopes of falling in love with someone there himself.
Sure enough, Colin meets Chloe at the party. Before they know it, they’re dancing to Duke Ellington in an exaggerated, old-fashioned way that involves more animated tricks. Everyone’s legs seem to lengthen magically as they dance in a jitterbug fashion.
Colin and Chloe enter a whirlwind courtship. On their honeymoon, however, Chloe develops an unusual illness when a waterlilly begins to grow in her lungs. The only thing that seems to help Chloe is for Colin to surround her with a never-ending supply of fresh flowers. Will it be enough to save her?
MOOD INDIGO is a faithful adaptation of a surrealistic novel by French jazz enthusiast, musician and writer Boris Vian. Vian contracted rheumatic fever as a child, and this gave him a heart condition that led to an early death. So, the story in his novel about Chloe’s illness is partly based on his personal experience. Like the movie, in the novel, real world objects respond to the characters’ emotions. Thus, for example, as Chloe’s condition worsens in the movie, the inventions in her and Colin’s house start to break down and the windows get grimier, letting through less and less sunshine. Also, Colin’s inherited wealth begins to disappear. All this leads to a tragic, rather depressing ending.
MOOD INDIGO won’t be to everyone’s taste. The ending is unrelentingly sad. However, the filmmaking is very clever and even hilarious, especially in the first half. Finally, extreme caution is advised due to brief foul language, nudity, the rather hopeless ending, and some light sexual connotations. Ultimately, tragedy overcomes joy in MOOD INDIGO, including the joy of Duke Ellington’s music.


WISH I WAS HERE is the story about man revaluating his life once he hears his father has cancer. WISH I WAS HERE has a mixed pagan worldview but also has positive elements of a man questioning his Jewish routs, finding God and becoming a better father, though it has foul language and sexual elements requiring extreme caution.
Zach Braff plays Aidan Bloom, a middle-aged man who’s spent his life trying to be an actor. Bloom has a family, a beautiful wife (Kate Hudson), a daughter named Grace, and a little boy named Tucker. The two children go to a Jewish school sponsored by Bloom’s father, Gabe. When the father stops the payment, Bloom must ask him what’s the matter and finds out his father has cancer. Since Gabe will no longer be able to fund the schooling, Bloom makes the decision to homeschool his children.
Starting out, Bloom isn’t a very good teacher. In fact, his daughter is a brilliant middle school student who knows more then her father. Meanwhile, Tucker, the son, is disinterested with learning. Over time though, Bloom learns how to be a better teacher to his children and in turn a better father.
While this occurs, Bloom’s father tries to do an experimental drug to treat his cancer, but it hasn’t been working. Bloom goes to his brother, Noah, to tell him their father is dying, and they need to make amends. At first Noah says he won’t, but Bloom and his family convinces Noah of the importance of family.
WISH I WAS HERE has a mixed pagan worldview with some positive elements. The protagonist is searching for God and asking philosophical questions. He had previously rejected the rituals of Judaism, but in the end, he believes in God, but in a more abstract way. At one point, he even recognizes overtly his personal need for a savior and for salvation, though there is no mention of Jesus. WISH I WAS HERE also contains a redemptive message about forgiveness and the importance of family. Though all this is the case, there are multiple obscenities and some lewd and crude content.
WISH I WAS HERE is a quirky movie. The acting is good, leading to some heartfelt moments. Written by brothers Zach and Adam Braff, the movie is dialogue oriented but well written. Zach, who also directs the movie, stars with a strong cast of talented performers, including Kate Hudson, veteran Mandy Patinkin of TV’s HOMELAND, Josh Gad of FROZEN, Jim Parsons of THE BIG BANG THEORY, and Donald Faison from Zach’s old TV series, SCRUBS. WISH I WAS HERE is especially appealing to some of those who enjoy independent, quirky movies. However, extreme caution is warranted for the movie’s crude, lewd content and its need for a stronger biblical worldview.
Of course, as Jesus Christ clearly and firmly says to his disciples in John 14:6, “I am the way and the truth and the life. No one comes to the Father except through me.” Later, in John 15:1-4, he adds, “I am the true vine, and my Father is the gardener. He cuts off every branch in me that bears no fruit, while every branch that does bear fruit he prunes so that it will be even more fruitful. You are already clean because of the word I have spoken to you. Remain in me, as I also remain in you. No branch can bear fruit by itself; it must remain in the vine. Neither can you bear fruit unless you remain in me.” Moses and the other prophets in many passages of the Hebrew Scriptures point to Jesus as the Messiah who will put God’s Law in our minds and write it on our hearts (Jeremiah 31:33). “God has made this Jesus, whom [the Jews and Romans in Jerusalem] crucified, both LORD and Christ,” says Peter in Acts 2:36. “And, everyone who calls on the name of the LORD will be saved” – Joel 2:32.


SNOWPIERCER is part science fiction thriller, part political allegory. It’s a unique, provocative movie with some impressive production values, but there’s a lot of strong foul language and somewhat graphic, sometimes disturbing violence. A ruthless businessman and inventor is the villain, but he runs a political dictatorship controlling everything while enforcing a strict class system among the people he rules.
In the story, a climate catastrophe occurs in 2014 when officials try to stop “global warming” by cooling down the Earth’s atmosphere using jets releasing chemicals. Instead of just reducing the heat, they turn Earth into a floating ball of ice.
Seventeen years later, the remnants of the human race are riding a special train created by an entrepreneur inventor named Wilford. The train enforces a strict class system where the poorest of the poor ride in the back of the train and are fed with a processed bar of black jelly that looks like coal and tastes terrible. Meanwhile, the richest of the rich ride in fully fed luxury up near the engine, which Wilford runs from his railroad car designed like a fancy penthouse. None of the poor people in the back get to eat the fancy meat and vegetables grown and raised by the train’s agricultural experts.
A revolution, however, is brewing among the grimy lower classes in the back. It’s being led by Curtis, the protégé of Wilford’s rival, an elderly man named Gilliam, who only has one arm and one leg. Curtis (played by Chris Evans, who plays Captain America in the current Marvel movies featuring that character) and Gilliam (played by John Hurt) think they have a plan that will get them to the engine room, something previous revolutions failed to do.
After they release an imprisoned Korean engineer who can open the gates to the other cars ahead, the revolution begins in earnest. However, Wilford (Ed Harris) and his thuggish minions have a couple tricks up their sleeves. Gilliam hasn’t told Curtis all that he knows about Wilford and himself. Meanwhile, next to Gilliam and his sacrifices, Curtis feels inadequate to take over the engine room as planned. Also, the Korean engineer, played by Korean star Song Kang-ho, has a secret plan of his own that could derail the whole revolution and lead to new challenges for humanity.
SNOWPIERCER is clever and exciting, with a lot of interesting, sometimes profound, ideas about society, government and popular revolts. The plot twists that are revealed when Curtis and the Korean engineer finally make it to the engine room and when Curtis finally confronts Wilford carry these political, moral themes to a deeper level. For example, when Wilford reveals some uncomfortable truths to Curtis about what’s happening behind the scenes, he talks about the “eternal engine” that metaphorically runs society. Overall, however, the movie’s worldview seems rather socialist, anti-capitalist and utopian, until the twists at the end lead to a more pessimistic, if not nihilistic, humanist conclusion about the human condition. So, leftist ideology eventually seems left behind at the railway station, so to speak.
One of the more interesting ideas in the movie’s beginning, though, is the notion that the environmentalist left’s ideas to turn around global warming could very well backfire in the end. This is exactly what happens when the governments of the world accidentally turn Earth into a floating ice cube. It would be interesting to see whether any of our leftist friends will catch that particular subversive message in the movie. Even if global warming were true, it might not be as serious as the environmentalists and left-wing ecologists are making it out to be. In fact, it might not even be a problem at all. Their solutions, as this movie suggests, might actually make things worse. Or, as some critics suggest, they might not make that much of a difference.
Be that as it may, as noted above, the movie’s worldview ends up being rather humanist, but in a nihilistic way that leaves the movie’s socialist notions behind. Ultimately, the movie suggests humanity may be doomed to extinction when confronted by the forces of nature. The movie also suggests people are doomed to a never-ending cycle of oppression, revolution, change, then back to oppression. As The Who rock group once sang, “Meet the new boss; same as the old boss!” A tragic death that occurs just before the third act adds a poignant quality to these messages.
That said, SNOWPIERCER has one redemptive aspect to its depressing viewpoint. Without giving anything away, at the end, Curtis makes a sacrificial decision that lends some hope. His decision seems to tell viewers that, even if your situation seems or even is hopeless, sacrificial love or compassion may often be the only positive decision that you can make, or that you should make. The movie seems to suggest that, even if your sacrifice doesn’t lead to a good result, it’s an inherent good in and of itself. This shows that even a humanist movie can have some Christian elements. After all, Christians preach the sacrificial love and compassion of Jesus Christ to all people, whether or not those people eventually believe the Gospel and come to Christ. In fact, even if they don’t come to Jesus in the end, the preaching of that Gospel may mitigate their sin in some way that will lead to a better world for some person, or even many people, or even the whole world.
SNOWPIERCER also contains lots of strong foul language and very strong, sometimes disturbing violence. The violence isn’t as overtly graphic as it could be, but it’s very strong and sometimes bloody, either overtly or by implication. This negative content, and the movie’s depressing worldview and socialist allusions are unacceptable, though not perhaps completely abhorrent. Thus, MOVIEGUIDE® gives this movie Four Stars and a Minus 3.


PERSECUTED is a suspenseful political thriller about a renowned evangelist who finds himself being targeted by a secret conspiracy to limit religious freedom in America.
Nationally acclaimed Christian evangelist John Luther tells a powerful senator he will publicly oppose a new “equal time” law he believes limits religious freedom too much. The senator orders John to be framed for the murder and rape of an innocent teenage girl. John tries to get the evidence to clear his name while trying to avoid the police and government agents. John’s father, a Catholic priest, helps him, but the senator sends operatives and assassins after them.
PERSECUTED is exciting and suspenseful, but slow and a bit confusing in places. For example, sometimes it seems some important scenes were left on the cutting room floor. For example, in one scene, some lowlifes blackmail the evangelist for a video they took that proves his innocence. Later, the evangelist passes the videotape on a flash drive to his father, but the movie doesn’t actually show paying the evangelist paying the blackmailers. The movie also implies that the President of the United States is in on the schemes to get the evangelist out of the way, but that plot twist could use more clarity. Finally, the movie as now edited doesn’t explain how exactly the evangelist could have a father who’s a Catholic priest.
Ultimately, therefore, PERSECUTED probably could use a little more focus, action, or conflict (see the original MANCHURIAN CANDIDATE from 1963). It could also use a little more dramatic or passionate dialogue (see the debates in the early part of 1959’s BEN-HUR starring Charlton Heston, or those in the 1964 movie SEVEN DAYS IN MAY starring Burt Lancaster, Kirk Douglas, and Fredric March, for some good examples of passionate, dramatic dialogue in a political, philosophical context). Finally, although the music is wonderful, it seems inappropriate or overdone in a couple scenes. The very first scene or sequence is an example of this.
The acting in PERSECUTED is top-notch, however. It features several veterans, including James Remar as the evangelist, Dean Stockwell as one of the evangelist’s supporters, Bruce Davison as the rich and powerful senator, and Fred Thompson as the evangelist’s father who’s also a Father. All these actors are excellent, though we would have liked to see Dean Stockwell with a couple more scenes or more dialogue.
[Some spoilers might follow] Though perhaps a little far-fetched, PERSECUTED deals with an important issue, religious freedom, in an intelligent and balanced way. It’s not preachy or ham-fisted. PERSECUTED also lets the bad guy make his case for the new law. This makes for a more interesting movie.
In addition, the movie gives a warning to the Christian Church, the Body of Christ, to be careful about getting in bed with the government. In the movie, the new law offers churches and religious groups a special tax benefit to entice religious leaders into supporting the new law. When the evangelist gets framed for the girl’s murder, his right-hand man convinces the organization’s board of directors to support the new law so they can get more financial donations. This leads to an intense confrontation between the evangelist and his board of directors, including his right-hand man who clearly wants to take away leadership of the group from the evangelist. PERSECUTED also contains positive references to God and prayer. In one scene, the evangelist questions God, but his faith seems to get even stronger after this scene.
PERSECUTED doesn’t tie up all the loose ends at the end. This isn’t disappointing. Instead, it gives viewers a more thought-provoking experience, a chance to discuss the important issues the story generates and to ask themselves what the evangelist in the story should do next. What would they do?
Despite its problems, PERSECUTED is a good movie that’s worth seeing. It has no foul language, but it has some violence and some brief innuendo about the frame-up between the evangelist and the murdered teenage girl. So, PERSECUTED is for older viewers and warrants a caution for children.
All in all, MOVIEGUIDE® commends writer and director Daniel Lusko for making such a provocative political thriller from a strong Christian, and somewhat conservative or libertarian, perspective. The positive values expressed are not only Christian and biblical but also American and pro-liberty values. As noted, the movie isn’t too preachy, so Non-Christians, moderates and liberals should be able to enjoy the movie as well.


Dusty has a problem with one of his parts and has to take a break from racing, instead Dusty learns how to be a firefighter, in PLANES: FIRE & RESCUE. PLANES: FIRE & RESCUE is an adorable movie with a strong moral worldview that the entire family will enjoy.
Dusty loves racing, but he’s always pushing the boundaries. One day, Dusty finds out he must take a break from racing because one of his parts needs replacing. The problem is the part is so rare the mechanics may have a hard time finding it. Doubting this, Dusty flies away and pushes himself into the red zone. Even though he was told not to do this, his engine shuts off, and he spirals down. Hitting some things, Dusty starts a fire, and Mayday the firetruck must help put it out. The whole town starts to help. They are able to put the fire out, but they also find out they aren’t really completely equipped to do it. So, they decide they need a firefighter plane. Feeling bad, Dusty decides to step up and learn how to be a firefighter.
Being a firefighter is tough stuff, however. Dusty learns this is true when he goes to a place that fights fires daily. When arriving, Dusty meets Blade Ranger, head of the firefighting team. Blade is a harsh, strict leader who shows Dusty every time he’s doing something wrong. Dusty also meets Dipper, a very friendly girly firefighter who’s been a fan of Dusty’s for a long time. Dipper is so excited Dusty is now joining the firefighting team. As Dusty is learning, he must fly into real fires and learn he can’t make the calls, but must follow the direction of Blade. Will Dusty be able to humble himself and take directions?
PLANES: FIRE & RESCUE is well made animated movie that will keep the entire family enchanted and entertained. The animation is extremely well done, especially the fire, smoke and water. The characters are fun and lively and even relatable. The fire and smoke was so well done that it really provides the movie’s jeopardy and suspense. Both boys and girls will enjoy this story.
PLANES: FIRE & RESCUE has a strong moral worldview. Dusty has to learn to let go of his ego, and even his own safety, and be a team player. Thus, the movie has a message of sacrifice and humbling yourself. Despite a couple light scatological jokes, the whole family will really enjoy PLANES: FIRE & RESCUE. The first PLANES movie was an unexpected hit at movie theaters. If you liked that one, you may like this one even more.


THE PURGE: ANARCHY is a sequel to a movie last year about a crime-ridden America, where a new government decides to establish one evening of the year where citizens can murder, rape and steal without going to jail. In the wake of instituting this “Purge,” unemployment and crime have gone down and federal deficits have disappeared.
This atrocious sequel makes it perfectly clear that the real plan of the Purge is to get rid of all the poor people and weak social misfits who increase unemployment, crime and the federal budget. Not only that, but the new government’s leaders, who all seem to be white, are now having armed soldiers and agents go into the major cities and target apartment buildings in poor urban areas to eliminate the poor and lower class people in them. Meanwhile, other rich white people are having people kidnapped to hunt them down and murder them, just for kicks.
The movie shows five protagonists in Los Angeles, including two black women, trying to survive the Purge night. At one point, the survivors are rescued by a black revolutionary opposing the Purge and carrying a machine gun, who then proceeds, with his compatriots, to go after the rich white folks who organized the hunt. This scene may remind some older people of the militant black communist revolutionaries of the 1960s who preached starting a race war against “imperialist” white America.
The filmmakers of this atrocity try to make everything seem all right by including some positive moral, redemptive values in their movie. For example, there’s a white man in the story who’s out for revenge against the white drunk driver who killed his son but was let go on a technicality. Against his prudent judgment, he rescues a poor black single mother and her teenage daughter whose apartment building was targeted by the government soldiers. The two black women realize that the man is out for some kind of revenge on Purge night. During the movie, the daughter keeps trying to argue her savior out of his desire for revenge. She rightly tells him that revenge will never satisfy him, even if he kills his intended target. This subplot leads to a climactic scene where the man must decide in favor of revenge or forgiveness. Without giving away the ending, the movie clearly shows that the young woman was right about forgiveness.
That said, the movie’s positive moral, redemptive content doesn’t negate the movie’s abhorrent leftist themes. THE PURGE: ANARCHY has a very strong Romantic, Anti-American, anti-capitalist worldview. Although people of other races participate in Purge night, all the leading villains are white government leaders and rich white people who murder mostly poor people for kicks and profit. In addition, the government leaders and rich white people make sanctimonious appeals to God and country several times in the movie. Consequently, the movie seems to strongly mock such American values. All this fits in with the anti-capitalist rants by other characters, including the black revolutionary who comes to rescue the five protagonists. It also fits into the movie’s sympathetic portrayal of the two poor women who get rescued twice.
Of course, in the Bible, God and his prophets command us to have compassion for the poor and needy, and to take care of them privately. Also, God and his prophets established such policies like letting the poor and needy, including strangers, harvest the corners of one’s fields or glean the leftovers from the farmer’s harvest. However, the Bible also tells us not to show “favoritism to the poor or favoritism to the great” (Leviticus 19:15). Thus, all people should be equal under the law and its provisions. In addition, the Bible tells us not to steal someone’s private property. Also, hard work is seen as a virtue and laziness as a vice (“Lazy hands make a man poor, but diligent hands bring wealth,” Proverbs 10:4). The Bible also tells us “not to be dependent on anybody” (1 Thessalonians 4:9-12). Finally, Paul writes in 2 Thessalonians 3:6-15, “If a man will not work, he shall not eat.”
Instead of all this great biblical advice, the Romantic worldview in THE PURGE: ANARCHY seems to contend that poor people in America can’t get ahead or get economic relief because the capitalist system is stacked almost totally against them. Thus, cruel rich white people, including government leaders, are oppressing the poor and exploiting the weak as well as murdering them. In making this point, the movie also promotes black on white violence as well as violence against the rich. Recently in Jersey City on the East Coast, an uproar was caused when members of a black neighborhood put up a memorial for a man who murdered a policeman. Some people made comments favoring the murder of more police officers. One must wonder, therefore, if the violence and Anti-American, anti-capitalist content in the new PURGE movie won’t foment such angry calls for political violence? As Paul Johnson says in his book THE INTELLECTUALS, political violence is evil. Nothing good comes from it.


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