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ON FAITH & MEDIA View Comments

The Grey

By
Kurt Jensen
Source: Catholic News Service


Liam Neeson stars in a scene from the movie "The Grey."
"The Grey" (Open Road) respectfully obeys the immutable law of all story lines in which an aircraft crashes in the Arctic: Some folks are bound to get eaten.

This film, however, with its slight spiritual bent, ducks the cannibalism cliche and makes wolves the hungry ones. The animals are doing what they're supposed to do by nature, stalking the survivors to thin out the human herd—the better, in the end, to kill them all.

Liam Neeson plays oil-rig worker John Ottway. He leads an ever-dwindling handful of men—Hendrick, Diaz, Talget, Burke and Flannery (Dallas Roberts, Frank Grillo, Dermot Mulroney, Nonso Anozie and Joe Anderson, respectively)—through howling winds, deep snow, fatigue and their own anxieties after their plane crashes while en route to Anchorage, Alaska.

That misfortune is significantly compounded by the fact that they've come down too close to the wolves' den, leaving them targeted as invaders.

As directed by Joe Carnahan—who co-scripted with Ian Mackenzie Jeffers from Jeffers' short story "Ghost Walker"—the chases, killings and feats of courage are brisk but routine. The script's attempts at profundity and spiritual reflection, moreover, are wildly uneven.

These oil-rig workers don't just swear constantly and fight among themselves as they dodge their predators. Each evening around the fire, they also debate the meaning of this life and the prospects for life after death. Additionally, they demonstrate a great deal of respect for those who perished in the crash.

As the film opens, Ottway is shown to be so lonely and depressed over missing his (unnamed) wife—Anne Openshaw, seen in flashbacks—that he attempts suicide. The crash thrusts him instantly into a strong leadership role. But he eventually proves to be a fatalist, inspired by a Kiplingesque poem his father wrote that ends, "Live and die on this day."

Toward the end, Ottway gazes into the slate-colored sky and—as though following the advice of Job's friends—curses God. He does so, moreover, with a vocabulary very far from scriptural.

His vulgarly phrased sentiments register as more macho defiance than genuine blasphemy. And the extremity of his circumstances mitigates both his blameworthiness and the potential real-life impact of his example.

But this climactic moment is the strongest element among several that, taken together, make this survival story as much a morally inhospitable wilderness as its setting is a natural one. Given the meager rewards of trekking through it, even most adults would be well advised to decline the journey altogether.

The film contains troubling themes—including suicide and one character's blasphemous expression of despair—frequent gory animal attacks, at least one use of profanity and pervasive rough, crude and crass language. The Catholic News Service classification is L—limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is R—restricted. Under 17 requires accompanying parent or adult guardian.

*****
Kurt Jensen is a guest reviewer for Catholic News Service.



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Scholastica: Twins often share the same interests and ideas with an equal intensity. Therefore, it is no surprise that Scholastica and her twin brother, Benedict (July 11), established religious communities within a few miles from each other. 
<p>Born in 480 of wealthy parents, Scholastica and Benedict were brought up together until he left central Italy for Rome to continue his studies. </p><p>Little is known of Scholastica’s early life. She founded a religious community for women near Monte Cassino at Plombariola, five miles from where her brother governed a monastery. </p><p>The twins visited each other once a year in a farmhouse because Scholastica was not permitted inside the monastery. They spent these times discussing spiritual matters. </p><p>According to the <i>Dialogues of St. Gregory the Great</i>, the brother and sister spent their last day together in prayer and conversation. Scholastica sensed her death was close at hand and she begged Benedict to stay with her until the next day. </p><p>He refused her request because he did not want to spend a night outside the monastery, thus breaking his own Rule. Scholastica asked God to let her brother remain and a severe thunderstorm broke out, preventing Benedict and his monks from returning to the abbey. </p><p>Benedict cried out, “God forgive you, Sister. What have you done?” Scholastica replied, “I asked a favor of you and you refused. I asked it of God and he granted it.” </p><p>Brother and sister parted the next morning after their long discussion. Three days later, Benedict was praying in his monastery and saw the soul of his sister rising heavenward in the form of a white dove. Benedict then announced the death of his sister to the monks and later buried her in the tomb he had prepared for himself.</p> American Catholic Blog In all the sacraments, Christ gives to us the transforming power of his love, which we call “grace.” But in the Eucharist, and only in the Eucharist, Jesus gives us even more. He gives us his entire self—Body and Blood, Soul and Divinity. Of course, the proper response to a gift of this magnitude is gratitude.

Divine Science Michael Dennin

 
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