Marshall Allman

Blu-ray Review: ‘Blue Like Jazz’ Attempts to Reinvigorate Christian Filmmaking

mattmovieman — Mon, 13 Aug 2012 10:47:12 -0400

CHICAGO – There’s a reason why the terms “Christian” and “filmmaker” don’t seem to go together. Pictures that push religious agendas tend to sacrifice complex plots and characters in favor of amplifying its message. These films fail not only as entertainment but as quality storytelling. Whenever an aspiring artist attempts to speak for a group rather than oneself, it’s almost always a recipe for tediously preachy dreck.

The mediocre output from studios such as Affirm Films and the mercifully scrapped Fox Faith soured many filmgoers on modern Christian entertainment by displaying an utter lack of interest in artistic integrity. Many doubting Christians found their frustrations mirrored in the 2003 book, “Blue Like Jazz,” a collection of essays written by Donald Miller, who reflected on his evolving faith while auditing courses at Portland’s liberal arts school, Reed College. Director Steve Taylor’s film version of the book functions as a rebuke to all the pictures that have given so-called Christian films a bad name.

Blu-ray Rating: 3.5/5.0

The script (co-written by Miller) constructs a coming-of-age tale centering on a 19-year-old version of the author. Marshall Allman, an actor perhaps best known for doffing his clothes on “True Blood,” plays Donald as a devoted churchgoer whose sudden disillusionment (spurred by a less-than-godly youth minister) inspires him to break free of his Bible Belt community. He begins taking classes at Reed College, and is immediately branded as an outsider by his peers. With a haircut and goofy smile evocative of Steve Carell in “The 40 Year Old Virgin,” Donald certainly resembles a fish out of water, but is neither made a target of ridicule nor a two-dimensional role model. There are several scenes where he comes across as a jerk while straining to fit in. It’s occasionally unclear whether the opinions he voices are actually his own or whether he’s just utilizing them to win friends, not to mention the affections of pretty blonde Penny (Claire Holt). Yet it’s the confusion and uncertainty that Donald harbors about his own beliefs that makes his character so relatable, and his plight so engaging. From moment to moment, I was unsure about where Donald’s tale would lead next and what the ultimate lesson to his tale would be. With the possible exception of that smarmy youth minister, there isn’t a single person that the film portrays as a cardboard villain. No character is without fault or without value, and the film’s good-natured tone is infectious.

Blue Like Jazz was released on Blu-ray on August 7, 2012.
Photo credit: Lionsgate Home Entertainment

That being said, there are several instances where a character’s erratic behavior seems motivated more by screenplay contrivances than anything else. Penny seems a tad too understanding after Donald disrupts her church service in a bout of irrational rage. The inner-revelation that Donald has in the film’s final act also feels more tacked-on than organic. What ultimately makes the film work are the numerous moments that ring true. Instead of ignoring the severe crimes and hypocrisies that have made many people turn their backs on the church, Miller dares to face them in a final scene of emotionally potent catharsis. “Blue Like Jazz” reminds viewers that faith is an intangible entity that comes from within rather than from an organized religion or a standard place of worship. Filmmakers such as Martin Scorsese and Mel Gibson have demonstrated (for better or worse) that the most enduring artistic works of spiritual expression are the most personal. In its own gentle way, Taylor’s film demonstrates how truth can never be realized unless one is true to oneself. It’s the sort of message that people of any faith could easily get behind.

The film is presented in 1080p High Definition (with a 1.85:1 aspect ratio), accompanied by English and Spanish subtitles, and includes a wide array of extras, though many are disappointingly glib. Taylor, Miller and cinematographer/co-writer Ben Pearson’s audio commentary track is a particular letdown, since the laugh-prone trio fails to seriously explore the film’s multitude of ideas regarding a faith-based life. They do, however, point out the various details lifted directly from Reed College, such as the cafeteria’s “Scrounge counter” and “Coming Out Wall.” Many of the extras are self-parodying and seem determined to test the patience of viewers, though the assemblage of pointless “deleted shots” is admittedly amusing.

In an all-too-brief making-of featurette, Taylor argues that the film wouldn’t have been as interesting if it didn’t juxtapose the extreme environments of the Bible Belt and a “godless” liberal college. Miller makes no secret of the fact that he shares his autobiographical character’s frustration at the church, though he never specifies what he’s frustrated about. He says that it’s his goal to change the “Christian business model” by encouraging fellow church members to “no longer be salesmen but instead be truth tellers.” This is a powerful statement, though its power is dulled by a PSA-type video where fans repeat the same line while attempting to prove that Miller’s book represents a larger movement within the church. Yet the popularity of “Blue Like Jazz” remains undeniable. The film’s Kickstarter campaign raised $125,000 within a mere ten days. This isn’t a great film, by any means, but it certainly is a step in the right direction for Christian filmmakers aiming to reach a wider audience. Kirk Cameron, eat your heart out.

‘Blue Like Jazz’ is released by Lionsgate Home Entertainment and stars Marshall Allman, Claire Holt, Justin Welborn, Tania Raymonde, Eric Lange, Jason Marsden, Will McKinney and Jenny Littleton. It was written by Donald Miller, Ben Pearson and Steve Taylor and directed by Steve Taylor. It was released on August 7, 2012. It is rated PG-13.

By MATT FAGERHOLM
Staff Writer
HollywoodChicago.com
matt@hollywoodchicago.com

Film Review: Pretentious ‘Blue Like Jazz’ Can’t Find the Right Groove

BrianTT — Thu, 12 Apr 2012 17:02:21 -0400

Rating: 2.5/5.0

CHICAGO – Donald Miller’s “Blue Like Jazz” is a beloved book that spent 43 weeks on the New York Times bestseller list and sold over 1.5 million copies. I haven’t read it. But I have to believe that it worked on its fans in a way that Steve Taylor’s film simply cannot. This is clearly a personal story, one that touched people by relating to issues they’ve grappled with in their own lives. By taking Taylor’s memories and turning them into cinema, the ability to touch has been removed another degree of separation and the resulting film is a misstep, the kind of work that thinks it’s saying something important but feels more pretentious than precious.

Marshall Allman (“True Blood”) plays Don, the film’s central character and its biggest problem. Don is intended to be a young man on a journey of self-discovery but he becomes – through performance and screenwriting – nothing more than a device. He’s the window into the world of religion followed by one into the world of a liberal arts education and he never becomes real to us. Even worse, the reflections of “religion vs. education” have been boiled to their basic ingredients. It’s a film that keeps expressing its desire to shatter myths about stereotypes related to religious Texans and the heathens of the great Northwest through its mouthpieces and yet it fully embraces them at the same time through its storytelling. In the end, Taylor takes complex, daring themes and makes them feel safe and simple. It’s clearly something that worked better on the page.

Read Brian Tallerico’s full review of “Blue Like Jazz” in our reviews section.

Don grew up a devout Southern Baptist in Texas but his world is shattered after he discovers that his mother has been sleeping with the married youth pastor. The idea that Don’s discovery that even pious people can commit sins would push him so far to the other side that he’s quickly drinking, pranking, and hiding his upbringing is one of the film’s greatest flaws. We never really see Don struggle with this decision in the way we need to for his journey to work. If Don’s journey feels forced by storytelling instead of character right from the beginning it never has a chance to work.

Continue reading for Brian Tallerico’s full “Blue Like Jazz” review.

“Blue Like Jazz” stars Marshall Allman, Claire Holt, Tania Raymonde, Jason Marsden, Eric Lange, and Justin Welborn. It was written by Donald Miller, Ben Pearson, & Steve Taylor and directed by Taylor. It opens on April 13, 2012.

Blue Like Jazz
Photo credit: Sony Pictures

Slideshow: Exclusive Portrait Gallery From 2011 Chicago International Film Festival

PatrickMcD — Sun, 23 Oct 2011 22:36:52 -0400

CHICAGO – The 47th Chicago International Film Festival wrapped on Oct. 20, 2011 with a spectacular showing of the new film “The Artist”. Over the past two weeks, HollywoodChicago.com has been covering the red carpets and publishing exclusive portraits of the stars and directors.

From red carpets before a film, to perspective tributes on directors and performers, they stood before the lens of HollywoodChicago.com and photographer Joe Arce. Click “Next” and “Previous” to scan through the slideshow or jump directly to individual photos with the captioned links below. All images © Joe Arce of Starstruck Foto for HollywoodChicago.com.

CIFF1: Dennis Farina on the Red Carpet for ‘Last Rites for Joe May,’ October 6th, 2011
CIFF2: Gary Cole, ‘Last Rites of Joe May,’ at 2011 Chicago International Film Festival
CIFF3: Billy Zane walks the Red Carpet on Opening Night, October 6th, 2011
CIFF4: Marshall Allman of ‘True Blood’ participates on Opening Night
CIFF5: Jamie Lee Allman, ‘Last Rites of Joe May’ on the red carpet
CIFF6: Chelcie Ross is also in the cast of ‘The Last Rites of Joe May’
CIFF7: Brian Boland of ‘The Last Rites of Joe May’
CIFF8: Director Joe Maggio of ‘The Last Rites of Joe May’
CIFF9: Legendary director Claude Lelouch collects a Silver Hugo on Oct. 8, 2011
CIFF10: John C. Reilly on the red carpet on Oct. 8, 2011 for ‘We Need to Talk About Kevin’
CIFF11: Anthony Mackie honored at the Black Perspective Program, October 15th, 2011

The 48th Chicago International Film Festival will be October 11th-25th, 2012. For more information, click on ChicagoFilmFestival.com

By PATRICK McDONALD
Senior Staff Writer
HollywoodChicago.com
pat@hollywoodchicago.com