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ON FAITH & MEDIA View Comments

The Raven

By
John P. McCarthy
Source: Catholic News Service


Luke Evans stars in a scene from the movie "The Raven."
The macabre musings of Edgar Allan Poe have been adapted for the screen numerous times. In the latest instance, Baltimore's most famous literary son is not only the central character—he's also credited with being the progenitor of the horror movie genre.

While the makers of "The Raven" (Relativity) articulate the latter idea near the end of the proceedings, and only in passing, they're clearly banking on it animating their tale. Instead, casting Poe as the forerunner of, say, low-budget horror director Roger Corman only underscores our sense that the author's oeuvre is being picked at and that the film is straining to bring gravitas and wit to its own workaday mayhem and melancholia.

The grotesquery presented renders "The Raven" unsuitable for a majority of moviegoers and its failure to surprise will disappoint adults who self-identify as horror fans. Perhaps more unsavory than the images and scenarios themselves, however, is the underlying assumption that the reading or viewing public is naturally drawn toward morbidity, gore and sadism.

Either way, the titular bird's associations with death and scavenging are fully borne out.

A title card at the outset states we'll learn how the real-life Poe came to be discovered near death on a Baltimore park bench in 1849. This isn't the only mystery, real or fictional, that fails to be solved satisfactorily.

Short of funds and inspiration, the middle-aged Poe (John Cusack) scrounges for work to pay his bar bills and, more nobly, to put himself in a position to wed his high-society beloved Emily (Alice Eve). Yet Poe's prospective father-in-law, Captain Hamilton (Brendan Gleeson), has no intention of letting this caustic, gloomy and besotted scribbler marry his daughter.

Perversely enough, Poe's redemption will be achieved through a series of ghastly murders inspired by his stories. A serial killer painstakingly enacts crimes that Poe has described on paper, gruesomely claiming innocent lives while toying with the author. Detective Fields (Luke Evans), the police officer assigned to investigate, enlists Poe's help in catching the perpetrator, who raises the stakes by kidnapping Emily.

The plot turns are nothing if not predictable and director James McTeigue doesn't exhibit sufficient finesse to smooth over logical wrinkles. Despite a promising premise, scant frights and little suspense are to be found in the campy, ill-formed piece.

The game and always likable Cusack brings a gothic hipness to the role and yet, matching the screenplay, the performances are overripe across the board. Injecting enough purple bombast to fill the Chesapeake Bay fails to enliven this cadaverous entertainment.

At one point, Poe bellows, "Is imagination now a felony?" While it doesn't warrant incarceration, there's no doubt "The Raven" is guilty of displaying too little of that valuable commodity.

The film contains frequent and explicit grisly imagery and violence, some profanity, one instance of rough language, much crude and crass talk and several instances of sexual innuendo. 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.

*****
John P. McCarthy is a guest reviewer for Catholic News Service.



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Conversion of St. Paul: Paul’s entire life can be explained in terms of one experience—his meeting with Jesus on the road to Damascus. In an instant, he saw that all the zeal of his dynamic personality was being wasted, like the strength of a boxer swinging wildly. Perhaps he had never seen Jesus, who was only a few years older. But he had acquired a zealot’s hatred of all Jesus stood for, as he began to harass the Church: “...entering house after house and dragging out men and women, he handed them over for imprisonment” (Acts 8:3b). Now he himself was “entered,” possessed, all his energy harnessed to one goal—being a slave of Christ in the ministry of reconciliation, an instrument to help others experience the one Savior. 
<p>One sentence determined his theology: “I am Jesus, whom you are persecuting” (Acts 9:5b). Jesus was mysteriously identified with people—the loving group of people Saul had been running down like criminals. Jesus, he saw, was the mysterious fulfillment of all he had been blindly pursuing. </p><p>From then on, his only work was to “present everyone perfect in Christ. For this I labor and struggle, in accord with the exercise of his power working within me” (Colossians 1:28b-29). “For our gospel did not come to you in word alone, but also in power and in the Holy Spirit and [with] much conviction” (1 Thessalonians 1:5a). </p><p>Paul’s life became a tireless proclaiming and living out of the message of the cross: Christians die baptismally to sin and are buried with Christ; they are dead to all that is sinful and unredeemed in the world. They are made into a new creation, already sharing Christ’s victory and someday to rise from the dead like him. Through this risen Christ the Father pours out the Spirit on them, making them completely new. </p><p>So Paul’s great message to the world was: You are saved entirely by God, not by anything you can do. Saving faith is the gift of total, free, personal and loving commitment to Christ, a commitment that then bears fruit in more “works” than the Law could ever contemplate.</p> American Catholic Blog If you’re confused as to why God would die for you, you either need to rethink your vision of His mercy or of your own worth.

 
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