Literary Analysis

I’ve always been a fan of Denzel Washington. The star has an uncanny ability to inhabit his roles, from a desperate veteran engineer in “Unstoppable” to a postapocalyptic warrior in “The Book of Eli.” And in “Flight,” Washington simply continues his run of outstanding films, turning in a mesmeric performance worthy of an Academy Award.

“Flight” centers on Washington’s character, William “Whip” Whitaker, a pilot tormented by substance abuse. After a night of sex, drugs and alcohol, Whip slips behind the controls of a jetliner…but what happens next is far from routine. Mechanical failure results in a terrifying free fall, and only Whip’s preternatural piloting skills avert a violent crash.

The subsequent investigation, however, is less concerned with Whip’s heroism than with his addictions. Consumed by a mixture of self-loathing and self-delusion, Whip spirals deeper and deeper into a cesspit of degradation. A brief relationship with heroin-addict Nicole (Kelly Reilly) only highlights his condition…a condition which may cost him everything, if his impending National Transportation Safety Board deposition goes awry.

“Flight” is an absolutely harrowing character study, and evokes a level of emotional intensity I’ve rarely seen in any film. Though the film clocks in at 2 1/2 hours, it never drags; Washington’s outstanding performance is primarily responsible for this. Director Robert Zemeckis demonstrates an extraordinary range of artistry that transcends his previous works – remember, this is the man who brought the world a CGI “Beowulf.” Top-notch cinematography and supporting performances

It is critical to note that this is not a film for most viewers, and “Flight” earns every bit of its R rating. A gratuitous nude scene early on is followed by image after image of substance abuse, not to mention the nerve-shredding plane crash (six individuals are killed bloodily by falling debris). At times, perhaps, the fixation on depravity becomes masochistic. One might wonder whether the entire film was funded by product placements on the parts of liquor companies, given the immense variety of beverages onscreen. Whip spends almost the entire film inebriated, and uses cocaine as a means of rousing himself from lethargy.

This is, ultimately, a story of restoration – but “Flight” takes a very, very roundabout road to reaching that point.

The worldview of “Flight” is difficult to discern at first glance. Overt professions of religion are, almost without exception, limited to trite clichés uttered in the wake of the airline accident (“It was God’s will.” “It was a true act of God.” “Praise Jesus!”). These are universally portrayed as grotesque and slavish – fatalistic ways of attempting to understand human failure.

In one of the film’s concluding shots, the camera pans over a copy of Reinhold Niebuhr’s Serenity Prayer – “God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference.” Though the effect is subtle, it captures the thematic essence of the film: that while the reasons for some horrific events may not be fully clear on earth, individuals’ moral choices possess fundamental significance. What moral redemption requires of Whip is a singular act of courage: a willingness to admit powerlessness in the face of human weakness.

The film’s view of God is perhaps more akin to the “Higher Power” postulated by Alcoholics Anonymous (a meeting of which enjoys some screen time) than to the God of any particular organized religion. The existence of absolute moral truths, and responsibilities to embrace such truths, however, serves as the linchpin of the movie’s philosophy.

Is it worth seeing? For strong-stomached viewers (i.e. those who can sit through a Tarantino or Scorsese film without fidgeting too much), “Flight” is a masterpiece. Its flaws, naturally, parallel those seen in the works of the aforementioned directors: over-the-top levels of vice, offset only by a too-truncated moral theme. (For that matter, Reilly’s character is artistically underutilized: given that her “spiritual struggle” parallels Whip’s, her character arc is essentially left unresolved.) Furthermore, moments of black comedy are periodically interspersed throughout the narrative – which, while frequently hilarious, feel somewhat jarring against a backdrop of moral crisis.

That said, “Flight” will probably score several Oscar nominations – which it assuredly deserves. Technically, it’s a grand achievement, even if its storyline occasionally fumbles.

Viewers’ ability to appreciate such merits will, naturally, depend on their willingness to endure a dark, dark journey.

VERDICT: 8/10
An intense, compelling drama-thriller held aloft by Denzel Washington’s brilliant performance.

Normalized Score: 5.8

I always appreciate it when Christian fiction attempts to grapple realistically with the “problem of evil.” Too often, this barrier to belief is overlooked or oversimplified, rather than confronted head-on. William Sirls’ debut novel, “The Reason,” to its credit, attempts to address this issue. Unfortunately, the book begins with a bang and builds to a commendable climax, but ends with a theologically dubious whimper.

After a lightning strike destroys a small town’s large wooden cross, a mysterious man named Kenneth appears to rebuild the shattered symbol. It soon becomes clear that the town’s occupants – blind Pastor Jim, young mother Brooke and her leukemia-stricken son Alex, bar fixture Carla, and others – will be deeply touched by Kenneth’s presence, and his message: “only believe.”

Despite a slow beginning, “The Reason” is a cut above much other Christian fiction. Sirls, to his credit, engages head-on with many challenging issues, and succeeds in producing memorable characters. This isn’t high art by any means, but it’s decent reading. And even though the book frequently strays into explicit preachiness, I was never bored – that’s a testament to the book’s fairly strong writing.

Sirls has a real grasp of characterization and plot, but the final product unfortunately suffers from an attempt to shoehorn in a Hollywood-Christianized ending. What could’ve been an emotionally devastating yet faith-affirming finale quickly devolves into trite implausibility. The book’s constant invocation of “miracles” performed by Kenneth is a self-defeating plot device: if the book’s purpose is to answer the question “where is God when bad things happen?”, positing a magical god-figure who shows up to save the day compromises the novel’s strong sense of realism.

(Minor spoilers follow)

This book actually could’ve gone in a brilliant direction. Towards the end of the book, it’s implied that Kenneth is actually causing bad things to happen so that “the love of God” may be seen more clearly. If that’s what Sirls is actually claiming (that the suffering and evil in the world are actually instigated or worsened by God), that’s a pretty nefarious view of the Creator. There are a few scenes involving Kenneth and an apple as well…which made me wonder if Kenneth was actually the Devil masquerading as a benign figure. This, however, turns out not to be the case.

At no point, in a book like this that’s designed to “strengthen faith,” should I be wondering if the “Christ figure” is actually Satan in disguise. Furthermore, the book’s takeaway theological principle seems to be “only believe” so that good things will happen – an outgrowth of name-it-and-claim-it spirituality that has more in common with “The Secret” than the Holy Scriptures.

I was at the point of being seriously awed by Sirls’ plotting: if Kenneth’s questionable motives and message had turned out to be infernal in origin, “The Reason” could’ve been an immensely thought-provoking book calling readers to embrace true discernment. It’d have the advantage of indicting saccharine “spirituality” while simultaneously affirming God’s unwillingness to misanthropically torture His creations. The theme – a fallen world struggling to understand grace – would’ve been driven home in stunning fashion.

But it’s that very questionable message which Sirls asks his readers to embrace.

Accordingly, “The Reason” tanks in its final few pages. Unfortunately, this wet-blanket climax weighs down an otherwise strong debut. Is it worth reading? Maybe, for fans of “Joshua,” and the like…but given its insidiously sub-Christian message, this is one I won’t be adding to my church library anytime soon.

VERDICT: 6.5/10
A strong story that tapers off into a weak ending, fueled by erroneous theology.