Devil’s Advocate

In the film, Devil’s Advocate (1997), human free-will plays a very important role. It has implications not only for whether humans tend to be good or evil, but also on how culpable God is for the evil that committed by humans. One of the devil’s sons by a mortal woman, Kevin Lomax, must choose whether or not to impregnate his half-sister, Christabella Andreoli, to produce the Anti-Christ, which John Milton, who is the devil, wants so much. In Christian theology, both the extent of free-will and how tainted it is from the Fall have been debated. Even within Augustine’s works, his thought changes. The one thing that cannot be asserted is that free-will both does and does not exist. Also, that so many greedy people have been so destructive of democracies and even the planet does not necessarily mean that God is responsible or that humans are not capable of choosing to do good over evil.

The full essay is at "Devil's Advocate."

The Vatican Tapes

After The Omen (1976), which was released just two years after the sardonic U.S. President, Richard Nixon, had resigned in utter disgrace from the presidency amid much economic and political pessimism in the 1970s generally, moviemakers got busy on stories involving demon-possession. The 2015 film, The Vatican Tapes, begins as an apparent demon-possession case and thus seems not to stand out among other such films, but towards the end of the film, when the demon-possessed young woman suddenly breaches the bounds of the sort of supernatural feats of which demons are capable, the true significance of her case emerges with stunning clarity. For that which possesses and kills the young woman is none other than the Anti-Christ, and that figure is in a wholly different league than demons.

The full essay is at "The Vatican Tapes."

The Omen

Released in 1976, The Omen reflects the pessimism in America in the wake of the OPEC gas shortage and President Nixon’s Watergate cover-up, both of which having occurred within easy memory of the two notable assassinations in 1968. Additionally, the drug culture had come out in the open in the anti-Vietnam War hippie sub-culture, and the sexual revolution, which arguably set the stage for the spread of AIDS beginning in the next decade, was well underway, both of which undoubtedly gave evangelical, socially-conservative Christians the sense that it would not be long until everything literally goes to hell. The film provides prophesy-fulfillment of a birth-narrative (i.e., myth) and a supernatural personality known biblically as the anti-Christ, who as an adult will set man against man until our species is zerstört. It is as if matter (the Christ) and anti-matter (the anti-Christ) finally cancel each other out at the end of time. Economically during the 1970s, inflation and unemployment were giving at least some consumers and laborers the sense of being in a jet trapped in a vertical, free-fall dive of stagflation that not even fiscal and/or monetary policy could divert. The pessimistic mood was captured in another way in another film, Earthquake (1974), in which a natural disaster plays off the mood of utter futility throughout the decade. It is no wonder that Ronald Reagan’s “Morning in America” resonated so much as a presidential-campaign slogan in 1979 as Jimmy Carter was mired in micro-management inside the White House.  The optimism of a resurgence in political energy overcame the decade’s sense of pessimism. That Damien, the anti-Christ in The Omen, survives the attempt on his life by Robert Thorn, his adoptive father resonates with that pessimism. Satan’s plan is still “game on” as the film ends, and this ending fits the mood in America during the decade. With this historical context contemporaneous with the film laid out, a very practical, manifestation of evil subtly depicted in the film and yet easily recognized by customers frustrated with corrupt and inept management of incompetent employees will be described in the context of pessimism from utter frustration. Such frustration survived the squalid decade of the 1970s at least decades into the next century.

The full essay is at "The Omen."