Three Christs Rated 3.5 / 5 based on 294 reviews.
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- Jon Avnet
- country=USA
- genres=Drama
- creators=Eric Nazarian
- &ref(https://m.media-amazon.com/images/M/MV5BY2JmZGJiYmYtNTcyNC00ODY4LTg5YWUtOTFlNWVhZDRlNDM1XkEyXkFqcGdeQXVyODY3Nzc0OTk@._V1_UY190_CR0,0,128,190_AL_.jpg)
- Actors=Bradley Whitford
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IFC Films Bradley Whitford as Clyde, Peter Dinklage as Joseph, and Walton Goggins as Leon in Three Christs, directed by Jon Avnet One does not have to go that far back in cinema to find another film besides Jon Avnet’s newly released Three Christs that is based on medical case history. There is, for example, Penny Marshall’s Awakenings (1990), which finds its source in Oliver Sacks’s 1973 account of the application of L-dopa, a then-recently formulated medication, in the treatment of patients with irremediable encephalitis. Sacks’s original narrative, in the book called Awakenings, is a significant literary achievement, and one that brought new awareness to the role that humanism, as a discipline, could play in the study of neurology. The book was so good, so memorable, so powerfully moving, that it helped spawn an entire literary career for Sacks, who went on to write such classics as Migraine, The Man Who Mistook His Wife For a Hat, Gratitude, and other excellent popular accounts of neurology, general medicine, his own life, and so on. Unfortunately, at least for this critic, Awakenings, the film, was a big bust. Not because, for example, Robert DeNiro was bad in it. On the contrary, as Sacks himself noted in his essay “ Awakenings on Stage and Screen, ” DeNiro’s capacity for physical duplication of neurological symptoms was spookily accurate. Rather, Awakenings the film was bad because the second Hollywood got ahold of the story, a whole apparatus of ludicrously melodramatic material was grafted onto Sacks’s gentle and beautiful account?all of this additional storytelling simulated, overwrought, and hard to enjoy. The result was, alas, a monstrosity of a thing. I approached Jon Avnet’s Three Christs ?which is based upon Dr. Milton Rokeach’s spellbinding account (titled The Three Christs of Ypsilanti) of a “humanist” psychological experiment in Ypsilanti, Michigan, in which the author decided to practice group therapy with three chronically psychotic, schizophrenic men who all insisted they were Jesus Christ himself?with an anxiety born of prior disappointment. Since many are the abject pieces of cinema that are “based on a true account, ” as we are told here at the outset, there is good reason to worry. Judged as an example of the same, a story that awkwardly grafts dramatic material onto a wonderfully supple, sad, and powerful source, Three Christs proves the accuracy of prejudice. Right away, in the first act, there is the dismal backstory in which Dr. Allen Stone (performed by an excellently elderly Richard Gere) comes to this state hospital in Michigan for some merely plot-oriented reason, a state hospital with implausible interior offices, to conduct his implausible experiment, with implausible resistance from the evil forces of the mental health apparatus, while ignoring his implausibly young children and wife at home. Also: there is the fragile young bombshell assistant who couldn’t stop her own schizophrenic brother from committing suicide, and the African-American orderly who can’t possibly rise above his position, but who is the stalwart moral center of the film. I could go on, but the point is made: there is a superabundance of extraneous story soldered on for the sake of film entertainment. The viewer could be forgiven, in the first half-hour, for believing that one had made a grand mistake by taking on Three Christs. But if you left the film during the first act, you would miss some of what is rather splendid and moving about it?in particular, the wonderful performances of the three schizophrenic characters, Joseph, Leon, and Clyde, portrayed by Peter Dinklage, Walton Goggins, and Bradley Whitford. Each performer, in his way, brings something especially lucid to the enactment of the dread illness. Whitford, playing the lowest functioning person in the story, inhabits Clyde’s delusional space, his symbolic grasping of the world, with great sympathy; Dinklage, ever masterful and wily, manages the sometimes inexplicable charm and wit of the formidably ill; and Goggins, almost painfully at times, truly inhabits the provocations and anti-social tendencies of the most afflicted. IFC Films Richard Gere as Dr. Stone and Peter Dinklage as Joseph in Three Christs In appearance, Goggins is faintly reminiscent of David Berman, the late poet and songwriter, with his beard and broken glasses, and often achieves something like Berman’s outsider-art genius in Avnet’s rendering. It is worth also mentioning a tremendous setpiece that closely adheres to a story in Rokeach’s book, in which the men all sing “America the Beautiful” together, having selected it themselves for this purpose. This sequence is lovely, very sad, and, in its way, successfully patriotic, as almost nothing is these days. This middle section of the film holds fast most closely to Rokeach’s own account of his experiment, at times even including actual remarks by the original participants, and in this way, it gets very near to what is important about this narrative: a completely improbable experiment in humanist therapy (perhaps under the influence of the work of the humanistic psychologist Carl Rogers, which would have been roughly contemporaneous, and which eventually gave us the outlines of the now widespread practice of psychotherapy) in the midst of the institutional period of American mental health treatment. Considered from our vantage point, some fifty or more years later, Rokeach’s experiment may seem questionable, pointless, thoughtful, idealistic. But in the environment in which it was first pursued, it was fantastical enough to seem revolutionary: you’re going to just let them talk? When Avnet’s film takes the same approach, and just lets them talk, it is painful, noble, and beautiful, not least because of the great performances of the three schizophrenic characters, but also because of Gere’s dogged understatement, which is lovely and appropriate. There comes a moment, about two thirds in, when Dinklage’s Joseph kisses Gere’s character, out of gratitude?a long, sweet kiss, and it’s not only beautiful because it is routine, and because it is Peter Dinklage kissing Richard Gere, but also because this moment sets up a theme that runs through the last act of the film, in which one wonders whether one or more of the men really is Jesus of Nazareth. What would it mean to be him, actually, in the woebegone present? How would the love of Christ, among such a doomed constituency, manifest itself? The film closes with a great stretch of plot-oriented drudgery that I’m not going to rehearse here, including a suicide: more storytelling that could only come from a long-ago writers’ conference, perhaps in Los Angeles, that should never have been. None of this additional material is native to the source material, and all of it is stolidly performed by the actors in a way that, unfortunately, does not rescue the film as a whole. IFC Films Bradley Whitford as Clyde, Richard Gere as Dr. Stone, and Walton Goggins as Leon in Three Christs That said, what is it that we want from a film like Jon Avnet’s Three Christs? For me, it is not to have a bit of a cry and think about how rough it must have been in the mental hospital. What we might want, instead, is the opportunity to think of people with schizophrenia or other psychotic illnesses as people. Real people, with real emotions, and genuine ideas about themselves and their lives. Arguably, there is no Other, in all contemporary film and literature, that is as firmly lodged in the category of Outsider as the contemporary schizophrenic. You know you are seeing a film that will deal with schizophrenics by virtue of a bundle of tired repetitions: electroconvulsive shock therapy, screaming in the corridors, people being sprayed with a hose in lieu of showering themselves, straitjackets, solitary confinement. All these signal that we have left the place of civilization entirely. But, in actual fact, civilization can and does contain their suffering, a suffering much more complex than one film can manage. And yet the film that contends with this does us all a real service. One way we could begin is simply to tell the truth, as Richard Gere’s character recommends at one point in Three Christs (“Just tell the truth, keep it simple”)?by recognizing the common human aspiration in all our mentally ill people. They are our mothers, our sisters, our cousins, our brothers, our dads, our aunts and uncles. They are ourselves. Avnet’s film, for all its blustering about the institutional period of mental health treatment (a subject on which, it seems to me, it is very frequently incorrect), is on its firmest footing when in its depiction it strives for accuracy about the ache and woe of mental illness, when it says what is true: that they are us. Three Christs, directed by Jon Avnet, is on release from IFC Films from January 10. The Three Christs of Ypsilanti, by Milton Rokeach, with an introduction by Rick Moody, is published by New York Review Books.
The three christ's of ypsilanti watch free shipping. The Three Christs of Ypsilanti Watch free mobile. January 10, 2020 8:18AM PT Richard Gere plays a psychologist with grandiose delusions in a dull good-doctor drama that bends facts in its attempt to be another 'Awakenings. ' Sixty years ago, a psychologist named Milton Rokeach hatched an unconventional experiment, in which he gathered together at Ypsilanti State Hospital three mental patients who’d been diagnosed with grandiose delusions ??each was thoroughly convinced that he and only he was Jesus Christ ??to test whether confronting them with “the ultimate contradiction” of their claims might impact their beliefs. “While I had failed to cure the three Christs of their delusions, they had succeeded in curing me of mine ? of my God-like delusion that I could change them by omnipotently and omnisciently arranging and rearranging their daily lives, ” Rokeach wrote decades later in the 1981 reprint of his book, “The Three Christs of Ypsilanti. ” There’s a wonderful irony to that line upon which a fascinating film might be based, perhaps even a rowdy weekly sitcom. Instead, director Jon Avnet (whose terrific adaptation of “Fried Green Tomatoes” gives hope that perhaps he has another great film in him) and co-writer Eric Nazarian (whose credits do not inspire great optimism) have served up a stiff, unconvincing and recklessly wrong-headed reinterpretation of events. Operating in the vein of movies like “Awakenings, ” the pair have gone back to Rokeach’s book-length report, mining it for colorful details, while positioning the controversial experiment as some kind of noble breakthrough for talk-based treatment over more barbaric methods, such as electroshock therapy. Mind you, to the layperson, anything is better than clamping paddles to someone’s forehead and cranking up the voltage. What “Three Christs” ignores are not only the plentiful ethical criticisms of Rokeach’s work (as one of the patients put it in the book, “When psychology is used to agitate, it’s not sound psychology any more. You’re not helping the person. You’re agitating. ”) but also its author’s own admission that his study was a failure. Going in, Rokeach had assumed that he might be able to fix these patients, whereas in retrospect, he realized that he had been attempting to play God. Turns out there weren’t only three Christs in Ypsilanti but four, Rokeach concluded with a certain rhetorical flair. In any case, Richard Gere would not be my first choice to play Rokeach. Don’t get me wrong: Gere’s a fine actor, although he’s far better at projecting cow-eyed sympathy ? his version of the saintly, all-patient therapist that earned Robin Williams an Oscar for “Good Will Hunting” ? than a doctor wrestling with his own delusions of grandeur. Gere’s simply too nice, and as an audience, we instantly forgive the character his foibles, while Avnet redirects his criticism at the hospital director, shock-happy Dr. Orbus (Kevin Pollak). Obviously, the real acting opportunity here falls to the three patients, as Avnet allows Bradley Whitford, Peter Dinklage and Walton Goggins to parade about in varying shades of paranoid schizophrenia. Whitford is a twitchy motormouth, taker of long showers, and chronic masturbator, whereas Dinklage (with whom he frequently scuffles) projects a more urbane personality, with his taste for opera records and references to his native England. Rokeach, who has been renamed “Dr. Stone” in the film, finds a third Christ ? “but not from Nazareth, ” this one insists ??at another hospital. This last patient looks like Jack Nicholson, not so much the spastic “One Flew Over the Cuckoo’s Nest” version as the wild-eyed, greasy-haired lunatic who runs around swinging an ax at the end of “The Shining. ” A good fit for Goggins, who offers up one of the more restrained performances of his career. Frankly, all three are quite good, if very much on different pages. Rokeach’s idea was to force these three false prophets to cohabitate for two years and see what happened. Avnet’s idea is to create a tug-of-war between Stone and the hospital staff, who disapprove of his methods at first, but later want to take credit for the attention after he publishes his first article. Stone convinces them to stop shocking his patients (for a time), but rest assured, there will come a scene in which your favorite Christ becomes agitated, and the orderlies seize the opportunity to strap him down and plug him into the electroshock machine. Cut to a distressing close-up as something that looks like ectoplasm burbles forth from his mouth. It will not surprise you ? read: spoiler alert ? that one of the three Christs commits suicide. None of Rokeach’s patients did so in real life, but in the lazy dramatists handbook, that trope is by far the most efficient way for movies about prisons, psychiatric hospitals and uptight boarding schools to announce that the administrators of such institutions are in the wrong (see yet another self-righteous Robin Williams movie Avnet no doubt had in mind, “Dead Poets Society”). It also serves to explain why Stone, in the opening scene, addresses a disciplinary committee with the words “I am guilty of underestimating the enigma that is the mind. ” By now it is probably amply clear that “Three Christs” is not a faith-based movie ? at least, not in the conventional sense. The movie has almost nothing to do with religious belief, beyond that its titular trio all believe themselves to be the Messiah (eventually, one does waver slightly in his identity, requesting to be called “Dr. Righteous Idealed Dung”). To an extent, faith still factors into the experience: As audiences, we trust filmmakers to do a reasonably accurate job of representing stories based in truth, and we get angry when they take the kind of liberties Avnet and company allow themselves here. As if it weren’t bad enough that “Three Christs” were boring, it’s impossible to believe, and for that, there is no cure. After South by Southwest was cancelled on Friday over concerns about the coronavirus, two of its founders told the Austin Chronicle that the film festival doesn’t have insurance to cover the cancellation. Nick Barbaro, a co-founder of SXSW who is also the publisher of the Chronicle, told the paper that the festival does not have [... ] Leaders of the Directors Guild of America have approved a three-year?successor deal to the DGA master contract, triggering a ratification vote by the 18, 000 members. The DGA national board announced Saturday that it had approved the deal unanimously. The guild revealed that the agreement includes a significant increase in residuals for high-budget streaming content, pension, [... ] In “Last and First Men, ” Tilda Swinton is the literal voice of the future: a disembodied narrator from the hyper-evolved “eighteenth species” of humanity, calmly but desolately reaching out to us from a world some way past 2, 000, 000, 000 A. D. Given that we always suspected as much about Tilda Swinton, it’s a comforting choice: the one [... ] The Cinequest Film & Creativity Festival will push back its second week of programming to August due to concerns over the coronavirus. Co-founders Halfdan Hussey and Kathleen J. Powell made the announcement in a statement released on Saturday. “We want to make clear that our very first concern is for the health and well-being of [... ] Disney-Pixar’s fantasy film “Onward” is dominating North American moviegoing this weekend, opening with $40 million at 4, 310 locations, estimates showed on Saturday. The figure is at the low end of pre-release forecasts, which had pegged “Onward” for a launch in the $40-45 million range. The movie centers on a pair of teenage elf brothers ? [... ] The American Film Institute has postponed its Life Achievement Award gala due to concerns over the spread of coronavirus. The annual ceremony, set this year to honor Julie Andrews, was scheduled to take place April 25 at the Dolby Theatre in Los Angeles. The event will be rescheduled for a date in early summer. “AFI’s [... ] Dave Bautista’s “My Spy” is moving its North American release date back a month to April 17 in order to take advantage of a recently cleared slot for the family comedy. After “No Time to Die” was pushed from April 10 to November due to the coronavirus slowing the global box office, “Trolls World Tour” [... ].
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IFC Films Bradley Whitford as Clyde, Peter Dinklage as Joseph, and Walton Goggins as Leon in Three Christs, directed by Jon Avnet One does not have to go that far back in cinema to find another film besides Jon Avnet’s newly released Three Christs that is based on medical case history. There is, for example, Penny Marshall’s Awakenings (1990), which finds its source in Oliver Sacks’s 1973 account of the application of L-dopa, a then-recently formulated medication, in the treatment of patients with irremediable encephalitis. Sacks’s original narrative, in the book called Awakenings, is a significant literary achievement, and one that brought new awareness to the role that humanism, as a discipline, could play in the study of neurology. The book was so good, so memorable, so powerfully moving, that it helped spawn an entire literary career for Sacks, who went on to write such classics as Migraine, The Man Who Mistook His Wife For a Hat, Gratitude, and other excellent popular accounts of neurology, general medicine, his own life, and so on. Unfortunately, at least for this critic, Awakenings, the film, was a big bust. Not because, for example, Robert DeNiro was bad in it. On the contrary, as Sacks himself noted in his essay “ Awakenings on Stage and Screen, ” DeNiro’s capacity for physical duplication of neurological symptoms was spookily accurate. Rather, Awakenings the film was bad because the second Hollywood got ahold of the story, a whole apparatus of ludicrously melodramatic material was grafted onto Sacks’s gentle and beautiful account?all of this additional storytelling simulated, overwrought, and hard to enjoy. The result was, alas, a monstrosity of a thing. I approached Jon Avnet’s Three Christs ?which is based upon Dr. Milton Rokeach’s spellbinding account (titled The Three Christs of Ypsilanti) of a “humanist” psychological experiment in Ypsilanti, Michigan, in which the author decided to practice group therapy with three chronically psychotic, schizophrenic men who all insisted they were Jesus Christ himself?with an anxiety born of prior disappointment. Since many are the abject pieces of cinema that are “based on a true account, ” as we are told here at the outset, there is good reason to worry. Judged as an example of the same, a story that awkwardly grafts dramatic material onto a wonderfully supple, sad, and powerful source, Three Christs proves the accuracy of prejudice. Right away, in the first act, there is the dismal backstory in which Dr. Allen Stone (performed by an excellently elderly Richard Gere) comes to this state hospital in Michigan for some merely plot-oriented reason, a state hospital with implausible interior offices, to conduct his implausible experiment, with implausible resistance from the evil forces of the mental health apparatus, while ignoring his implausibly young children and wife at home. Also: there is the fragile young bombshell assistant who couldn’t stop her own schizophrenic brother from committing suicide, and the African-American orderly who can’t possibly rise above his position, but who is the stalwart moral center of the film. I could go on, but the point is made: there is a superabundance of extraneous story soldered on for the sake of film entertainment. The viewer could be forgiven, in the first half-hour, for believing that one had made a grand mistake by taking on Three Christs. But if you left the film during the first act, you would miss some of what is rather splendid and moving about it?in particular, the wonderful performances of the three schizophrenic characters, Joseph, Leon, and Clyde, portrayed by Peter Dinklage, Walton Goggins, and Bradley Whitford. Each performer, in his way, brings something especially lucid to the enactment of the dread illness. Whitford, playing the lowest functioning person in the story, inhabits Clyde’s delusional space, his symbolic grasping of the world, with great sympathy; Dinklage, ever masterful and wily, manages the sometimes inexplicable charm and wit of the formidably ill; and Goggins, almost painfully at times, truly inhabits the provocations and anti-social tendencies of the most afflicted. IFC Films Richard Gere as Dr. Stone and Peter Dinklage as Joseph in Three Christs In appearance, Goggins is faintly reminiscent of David Berman, the late poet and songwriter, with his beard and broken glasses, and often achieves something like Berman’s outsider-art genius in Avnet’s rendering. It is worth also mentioning a tremendous setpiece that closely adheres to a story in Rokeach’s book, in which the men all sing “America the Beautiful” together, having selected it themselves for this purpose. This sequence is lovely, very sad, and, in its way, successfully patriotic, as almost nothing is these days. This middle section of the film holds fast most closely to Rokeach’s own account of his experiment, at times even including actual remarks by the original participants, and in this way, it gets very near to what is important about this narrative: a completely improbable experiment in humanist therapy (perhaps under the influence of the work of the humanistic psychologist Carl Rogers, which would have been roughly contemporaneous, and which eventually gave us the outlines of the now widespread practice of psychotherapy) in the midst of the institutional period of American mental health treatment. Considered from our vantage point, some fifty or more years later, Rokeach’s experiment may seem questionable, pointless, thoughtful, idealistic. But in the environment in which it was first pursued, it was fantastical enough to seem revolutionary: you’re going to just let them talk? When Avnet’s film takes the same approach, and just lets them talk, it is painful, noble, and beautiful, not least because of the great performances of the three schizophrenic characters, but also because of Gere’s dogged understatement, which is lovely and appropriate. There comes a moment, about two thirds in, when Dinklage’s Joseph kisses Gere’s character, out of gratitude?a long, sweet kiss, and it’s not only beautiful because it is routine, and because it is Peter Dinklage kissing Richard Gere, but also because this moment sets up a theme that runs through the last act of the film, in which one wonders whether one or more of the men really is Jesus of Nazareth. What would it mean to be him, actually, in the woebegone present? How would the love of Christ, among such a doomed constituency, manifest itself? The film closes with a great stretch of plot-oriented drudgery that I’m not going to rehearse here, including a suicide: more storytelling that could only come from a long-ago writers’ conference, perhaps in Los Angeles, that should never have been. None of this additional material is native to the source material, and all of it is stolidly performed by the actors in a way that, unfortunately, does not rescue the film as a whole. IFC Films Bradley Whitford as Clyde, Richard Gere as Dr. Stone, and Walton Goggins as Leon in Three Christs That said, what is it that we want from a film like Jon Avnet’s Three Christs? For me, it is not to have a bit of a cry and think about how rough it must have been in the mental hospital. What we might want, instead, is the opportunity to think of people with schizophrenia or other psychotic illnesses as people. Real people, with real emotions, and genuine ideas about themselves and their lives. Arguably, there is no Other, in all contemporary film and literature, that is as firmly lodged in the category of Outsider as the contemporary schizophrenic. You know you are seeing a film that will deal with schizophrenics by virtue of a bundle of tired repetitions: electroconvulsive shock therapy, screaming in the corridors, people being sprayed with a hose in lieu of showering themselves, straitjackets, solitary confinement. All these signal that we have left the place of civilization entirely. But, in actual fact, civilization can and does contain their suffering, a suffering much more complex than one film can manage. And yet the film that contends with this does us all a real service. One way we could begin is simply to tell the truth, as Richard Gere’s character recommends at one point in Three Christs (“Just tell the truth, keep it simple”)?by recognizing the common human aspiration in all our mentally ill people. They are our mothers, our sisters, our cousins, our brothers, our dads, our aunts and uncles. They are ourselves. Avnet’s film, for all its blustering about the institutional period of mental health treatment (a subject on which, it seems to me, it is very frequently incorrect), is on its firmest footing when in its depiction it strives for accuracy about the ache and woe of mental illness, when it says what is true: that they are us. Three Christs, directed by Jon Avnet, is on release from IFC Films from January 10. The Three Christs of Ypsilanti, by Milton Rokeach, with an introduction by Rick Moody, is published by New York Review Books.
The three christ's of ypsilanti watch free shipping. The Three Christs of Ypsilanti Watch free mobile. January 10, 2020 8:18AM PT Richard Gere plays a psychologist with grandiose delusions in a dull good-doctor drama that bends facts in its attempt to be another 'Awakenings. ' Sixty years ago, a psychologist named Milton Rokeach hatched an unconventional experiment, in which he gathered together at Ypsilanti State Hospital three mental patients who’d been diagnosed with grandiose delusions ??each was thoroughly convinced that he and only he was Jesus Christ ??to test whether confronting them with “the ultimate contradiction” of their claims might impact their beliefs. “While I had failed to cure the three Christs of their delusions, they had succeeded in curing me of mine ? of my God-like delusion that I could change them by omnipotently and omnisciently arranging and rearranging their daily lives, ” Rokeach wrote decades later in the 1981 reprint of his book, “The Three Christs of Ypsilanti. ” There’s a wonderful irony to that line upon which a fascinating film might be based, perhaps even a rowdy weekly sitcom. Instead, director Jon Avnet (whose terrific adaptation of “Fried Green Tomatoes” gives hope that perhaps he has another great film in him) and co-writer Eric Nazarian (whose credits do not inspire great optimism) have served up a stiff, unconvincing and recklessly wrong-headed reinterpretation of events. Operating in the vein of movies like “Awakenings, ” the pair have gone back to Rokeach’s book-length report, mining it for colorful details, while positioning the controversial experiment as some kind of noble breakthrough for talk-based treatment over more barbaric methods, such as electroshock therapy. Mind you, to the layperson, anything is better than clamping paddles to someone’s forehead and cranking up the voltage. What “Three Christs” ignores are not only the plentiful ethical criticisms of Rokeach’s work (as one of the patients put it in the book, “When psychology is used to agitate, it’s not sound psychology any more. You’re not helping the person. You’re agitating. ”) but also its author’s own admission that his study was a failure. Going in, Rokeach had assumed that he might be able to fix these patients, whereas in retrospect, he realized that he had been attempting to play God. Turns out there weren’t only three Christs in Ypsilanti but four, Rokeach concluded with a certain rhetorical flair. In any case, Richard Gere would not be my first choice to play Rokeach. Don’t get me wrong: Gere’s a fine actor, although he’s far better at projecting cow-eyed sympathy ? his version of the saintly, all-patient therapist that earned Robin Williams an Oscar for “Good Will Hunting” ? than a doctor wrestling with his own delusions of grandeur. Gere’s simply too nice, and as an audience, we instantly forgive the character his foibles, while Avnet redirects his criticism at the hospital director, shock-happy Dr. Orbus (Kevin Pollak). Obviously, the real acting opportunity here falls to the three patients, as Avnet allows Bradley Whitford, Peter Dinklage and Walton Goggins to parade about in varying shades of paranoid schizophrenia. Whitford is a twitchy motormouth, taker of long showers, and chronic masturbator, whereas Dinklage (with whom he frequently scuffles) projects a more urbane personality, with his taste for opera records and references to his native England. Rokeach, who has been renamed “Dr. Stone” in the film, finds a third Christ ? “but not from Nazareth, ” this one insists ??at another hospital. This last patient looks like Jack Nicholson, not so much the spastic “One Flew Over the Cuckoo’s Nest” version as the wild-eyed, greasy-haired lunatic who runs around swinging an ax at the end of “The Shining. ” A good fit for Goggins, who offers up one of the more restrained performances of his career. Frankly, all three are quite good, if very much on different pages. Rokeach’s idea was to force these three false prophets to cohabitate for two years and see what happened. Avnet’s idea is to create a tug-of-war between Stone and the hospital staff, who disapprove of his methods at first, but later want to take credit for the attention after he publishes his first article. Stone convinces them to stop shocking his patients (for a time), but rest assured, there will come a scene in which your favorite Christ becomes agitated, and the orderlies seize the opportunity to strap him down and plug him into the electroshock machine. Cut to a distressing close-up as something that looks like ectoplasm burbles forth from his mouth. It will not surprise you ? read: spoiler alert ? that one of the three Christs commits suicide. None of Rokeach’s patients did so in real life, but in the lazy dramatists handbook, that trope is by far the most efficient way for movies about prisons, psychiatric hospitals and uptight boarding schools to announce that the administrators of such institutions are in the wrong (see yet another self-righteous Robin Williams movie Avnet no doubt had in mind, “Dead Poets Society”). It also serves to explain why Stone, in the opening scene, addresses a disciplinary committee with the words “I am guilty of underestimating the enigma that is the mind. ” By now it is probably amply clear that “Three Christs” is not a faith-based movie ? at least, not in the conventional sense. The movie has almost nothing to do with religious belief, beyond that its titular trio all believe themselves to be the Messiah (eventually, one does waver slightly in his identity, requesting to be called “Dr. Righteous Idealed Dung”). To an extent, faith still factors into the experience: As audiences, we trust filmmakers to do a reasonably accurate job of representing stories based in truth, and we get angry when they take the kind of liberties Avnet and company allow themselves here. As if it weren’t bad enough that “Three Christs” were boring, it’s impossible to believe, and for that, there is no cure. After South by Southwest was cancelled on Friday over concerns about the coronavirus, two of its founders told the Austin Chronicle that the film festival doesn’t have insurance to cover the cancellation. Nick Barbaro, a co-founder of SXSW who is also the publisher of the Chronicle, told the paper that the festival does not have [... ] Leaders of the Directors Guild of America have approved a three-year?successor deal to the DGA master contract, triggering a ratification vote by the 18, 000 members. The DGA national board announced Saturday that it had approved the deal unanimously. The guild revealed that the agreement includes a significant increase in residuals for high-budget streaming content, pension, [... ] In “Last and First Men, ” Tilda Swinton is the literal voice of the future: a disembodied narrator from the hyper-evolved “eighteenth species” of humanity, calmly but desolately reaching out to us from a world some way past 2, 000, 000, 000 A. D. Given that we always suspected as much about Tilda Swinton, it’s a comforting choice: the one [... ] The Cinequest Film & Creativity Festival will push back its second week of programming to August due to concerns over the coronavirus. Co-founders Halfdan Hussey and Kathleen J. Powell made the announcement in a statement released on Saturday. “We want to make clear that our very first concern is for the health and well-being of [... ] Disney-Pixar’s fantasy film “Onward” is dominating North American moviegoing this weekend, opening with $40 million at 4, 310 locations, estimates showed on Saturday. The figure is at the low end of pre-release forecasts, which had pegged “Onward” for a launch in the $40-45 million range. The movie centers on a pair of teenage elf brothers ? [... ] The American Film Institute has postponed its Life Achievement Award gala due to concerns over the spread of coronavirus. The annual ceremony, set this year to honor Julie Andrews, was scheduled to take place April 25 at the Dolby Theatre in Los Angeles. The event will be rescheduled for a date in early summer. “AFI’s [... ] Dave Bautista’s “My Spy” is moving its North American release date back a month to April 17 in order to take advantage of a recently cleared slot for the family comedy. After “No Time to Die” was pushed from April 10 to November due to the coronavirus slowing the global box office, “Trolls World Tour” [... ].
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