The transformative moments of our lives always begin somewhere. And in the case of Juno MacGuff, it all begins with a chair. A chair that symbolizes both the innocence and angst of adolescent curiosity. A chair that sets the stage for an unplanned (teenage) pregnancy.

If we were guessing (and we are), you’ve probably already seen Juno. If we were to speculate further, we’d presume you enjoyed it. The Oscar community certainly did – bestowing a rare nomination for a comedy midst the Best Picture category. Here’s what we’re interested in however… Why?

Juno not only possesses the much beloved “coming-of-age” storyline by which we all seem to connect; it possess a smart and healthy tension of laughter, realism, and hope. But let’s be honest. The real draw here is to the characters – particularly Juno (Ellen Page) and Bleeker (Michael Cera). This is not a story about the numerous dramas of high school. This is not a story about the “pro life” versus “pro choice” debate. This is simply a story about being you. Better yet, it’s a story about being loved as being you.

Juno just-so-happens to embody the personality most of us wish we had – someone who can deal in the harsh realities of life without the consumption of worrying what other people think. And Bleeker is the perfect companion – someone who has the capacity to love others irregardless of their situation. This is a story we all want to experience.

This is a story of grace.

Read more http://rednow.com/blogs/intothedark/emerging-canon/juno/

As of late, there has been a resurgence of sorts for the “let’s-mess-with-realities-and-sub-realities” genre that was popularized via The Matrix (1999) over a decade ago. And within this decade, Christopher Nolan has practically owned this category with films such as Memento (2000), The Prestige (2006), and the recently Oscar nominated Inception (2010). Still, it seems evident there are plenty that want to play in this subversive world as well. George Nolfi has done so withThe Adjustment Bureau and Duncan Jones with Source Code – different shorelines, same playing field.

Interesting enough, Source Code writer Ben Ripley likely takes his cues more-so from Groundhog Day than Christopher Nolan and the likes – containing the film’s plot (for the most part) within the same repeated 8 minutes of a particular day. But like Nolan and others, Ripley, alongside Jones, is playing with the notion of manipulating reality. Can it be done? Is there a rabbit hole (a.k.a. Source Code) by which one can enter the space time continuum (think Donnie Darko) and not only obtain information, but adjust it?

While these questions certainly keep your mind working, the film’s true value add (in my opinion) lies in both the narrative and visual exploration of the “now.” Jones/Ripley take a seemingly monotonous scene (the Chicago commuter Metra line) and welcomes the audience to see it a little differently. The question upon the train shifts from What “thing” do I have to be at next? to What do I notice?

Can reality shift when we choose to see a little different?

Read more http://rednow.com/blogs/intothedark/in-theaters/source-code/

Read more http://rednow.com/blogs/intothedark/documentary/catfish/

What do Little Miss Sunshine, Juno, The Kids Are All Right, and Rachel Getting Married all have in common?  All are great movies primarily written about families.  Trying to capture the inner workings and dysfunction of the family has become a successful (and lucrative) media pastime -- just think, Modern Family.

Why is it that families fascinate and entertain us?

This isn’t just a recent phenomena.  Over 30 years ago, Kramer vs. Kramer, a film about a mom who walks out on her husband and son, was nominated for 9 and won 5 Oscar’s, including Best Picture.

Dustin Hoffman and Meryl Streep (who both won Oscars for their roles) play husband and wife in this film chronicling what happens in the life of Ted Kramer, a rising advertising executive and his young son Billy after their wife/mom leave.  It’s a simple story, but a compelling and intimate one.

Fifteen months later, while Ted and Billy struggle to build a beautiful and functional relationship, Joanna returns and a court custody battle ensues.  In a time before dads fought for custody and it was assumed that children were always better off with their moms, this film pushes the limit of those assumptions.

I think in watching other families, in laughing and crying over their winsomeness and heartache, we discover what it means to truly be a part of something.  We learn about sacrifice, stewardship, brokenness and love.  Our families serve as hints, as signposts, to what we were made for.

As you watch this film (which I desperately hope that you will) consider what it is about families that draws you in.  Whether at its best or its worst, families remind us that we are loved beyond our merit, that in dysfunction there is always hope, and that beautiful harmony can flourish even in brokenness.

www.youtube.com/watch?v=jNLcfJ06y34

Read more http://rednow.com/blogs/intothedark/olderclassic/kramer-vs-kramer/