They tell us Hollywood just wants to make money. To the extent that’s true, they only make that kind of movie to underwrite financial losers like this. The anti-Christian Left has used Hollywood to wage their war of destruction on Christianity for the last 50 years or so. Thus far, the Nihilists have focused their efforts on safe and easy targets like evangelicals and the Pope. As a young Lib, I generally managed to find safe passage among the Left even though I was a Christian, but only after persuading them of the fact that I wasn’t “that kind of Christian”— meaning the kind of Christian that actually stands up to the Left’s culture-destroying agenda. The more passive brand of Christianity of which I was a member at the time generally had been spared the Leftist onslaught. But only temporarily it now turns out. With the character assassination of conservative Christianity thoroughly accomplished in the popular perception, it was only a matter of time before the Gramciist Left turned their sights on…Episcopalians? lol
Watch for ‘Crazy Christian’ Sucker Punches in ‘Stone’
If there’s one thing criminals generally do well, it’s instinctively spot another’s inner demons and then mess with their minds to exploit them. In “Stone” (in theaters now), that street psychologist is the incarcerated arsonist Gerald “Stone” Creeson (Edward Norton) and his prey is Jack Maybrey (Robert De Niro), the prison parole officer who will decide whether Stone gets out early or stays in the bar hotel for his full stretch. But while their mind game is going on between characters in front of the camera, there’s another one playing the audience from behind the lens. For the words the actors are saying and the situations they are in have been intentionally scripted by director John Curran and writer Angus MacLachlan to sell their own apparent nihilism, according to Norton at a Q&A I attended.
“John told me we have to do this film now while things are bad,” Norton said. “We have to show that traditional establishments like religion and marriage that people have relied on for truth have failed them.” Curran does that by showing those institutions as hypocrisies that are the refuge of hypocrites like Maybrey, a deeply flawed, nasty man who, in his heart, may be little better than the convicts he judges for early release.
A flashback prologue shows young Maybrey sitting in a Lazy Boy and sipping whiskey while watching golf on TV. When his wife says she’s leaving because “you imprison my soul” amid the buzz of a metaphorical angry bee swarm, Maybrey threatens to kill their baby daughter unless she promises to stay. She does. Thirty years later, Maybrey is still sipping whiskey in the same Lazy Boy and watching golf on the same TV — at least when he and his wife (Frances Conroy) aren’t attending Episcopalian church services and reading Bible verses to each other. In his car, in one of the believability disconnects that betray the Curran/MacLachlan agenda, Maybrey augments those passages by listening to the kind of “Brother Al’s Hellfire and Brimstone Belchin’ Beat the Hades Outa Beelzebub’s Sneaky Serpent Send Me Yo Money Church of the Almighty Me” radio that no High Whiskeypalian (whenever four are gathered in His name, there is a fifth) that I ever encountered during my years in that church would sit through.
Read the rest.