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ON FAITH & MEDIA View Comments

Vampire Academy

By
John Mulderig
Source: Catholic News Service


Zoey Deutch and Danila Kozlovsky star in a scene from the movie "Vampire Academy."
Add half a cup of "Twilight" to a teaspoon or two of "Harry Potter" and, voila, you've got the pallid fantasy adventure "Vampire Academy" (Weinstein).

Though intended to please an adolescent palate, this unappealing recipe includes both visual and thematic ingredients that make it inappropriate fare for targeted teens.

Adult moviegoers, on the other hand, will likely be more bored than offended. That's because director Mark Waters' adaptation of a series of books by novelist Richelle Mead relies far too heavily on a complex, self-referential mythology about which it's very hard to care. Doing her best to guide the audience through it all, during the exposition-heavy opening scenes, is plucky teen Rose Hathaway (Zoey Deutch).

Rose, it seems, is a Dhampir, a half-vampire, half-human hybrid. Dhampirs have but one purpose in life: to protect the Moroi, a race of benign, but mortal bloodsuckers. Happily for Rose, the particular object of her care is Moroi princess Lissa Dragomir (Lucy Fry), who also happens to be Rose's BFF. How awesome is that?

And who is it that threatens the Moroi? Why the Strigoi, of course. These nightmarish vein-drainers are not only evil, they're immortal, at least until someone drives a silver stake into their hearts.

All together now, with feeling: Strigoi live forever, but not so the Moroi.

Taking a back seat to all this explanation is the plot, which kicks off with Rose and Lissa on the lam. They've escaped from the titular school for reasons that will only be fully revealed quite a while later. But their yearlong adventure in the real world is about to come to an end as uber-Dhampir Dimitri Belikov (Danila Kozlovsky) supervises their recapture.

So it's back to the old alma mater where, under the benign gaze of Headmistress Kirova (Olga Kurylenko) and Provost Victor Dashkov (Gabriel Byrne), Lissa resumes her royal studies and guardian-in-training Rose gets some remedial martial arts lessons from Dimitri.

Not only are the Strigoi lurking about outside, however; there also seem to be threats to Lissa's welfare from within the supposedly safe confines of the academy.

Still, there's always time for love, right? In Lissa's case, she just can't keep her eyes off bad-boy social outcast Christian Ozera (Dominic Sherwood). Christian is shunned among the Moroi because his parent chose to become Strigoi. As for Rose, it's all about much older, but still dreamy Dimitri.

One characteristic of the good undead is that they regularly attend a version of church. In fact, Vampire Academy is only a nickname; the institution's formal designation is St. Vladimir's Academy, though the Vladimir in question, hero of Moroi and Dhampir alike, bears no resemblance to any real-life champion of faith.

Still, Lissa, Rose and their peers regularly interrupt their high-school style backstabbing to troop off to the chapel, a sanctuary that combines Western art and architecture with a de-Christianized take on Eastern Orthodox vestments.

Such religious trappings hardly mask the fact that fang-sinking as a metaphor for sex is never far from the surface in screenwriter—and director's brother—Daniel Waters' script. This becomes especially problematic early on while Rose and Lissa are on the run. With no other source of nourishment available, Lissa feeds on Rose's blood, and the effect, for her willing victim, is more than merely painful.

As for more conventional fleshly bonding, it's kept under wraps with a single exception, and that occurs when both characters involved have been bewitched. In fact, the students of St. Vladimir's seem to take a refreshingly dim view of premarital high jinks, which they refer to by the old-fashioned F-word: fornication.

For all the sublimation that may be going on, however, there is still, unmistakably, quite a bit of steam being let off.

The film contains much hand-to-hand combat as well as action violence with minimal gore, semi-graphic nonmarital sexual activity, numerous sexual references and considerable crass language. The Catholic News Service classification is A-III—adults. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.



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Alphonsus Liguori: 
		<p>Moral theology, Vatican II said, should be more thoroughly nourished by Scripture, and show the nobility of the Christian vocation of the faithful and their obligation to bring forth fruit in charity for the life of the world. Alphonsus, declared patron of moral theologians by Pius XII in 1950, would rejoice in that statement.</p>
		<p>In his day, Alphonsus fought for the liberation of moral theology from the rigidity of Jansenism. His moral theology, which went through 60 editions in the century following him, concentrated on the practical and concrete problems of pastors and confessors. If a certain legalism and minimalism crept into moral theology, it should not be attributed to this model of moderation and gentleness.</p>
		<p>At the University of Naples he received, at the age of 16, a doctorate in both canon and civil law by acclamation, but he soon gave up the practice of law for apostolic activity. He was ordained a priest and concentrated his pastoral efforts on popular (parish) missions, hearing confessions, forming Christian groups. </p>
		<p>He founded the Redemptorist congregation in 1732. It was an association of priests and brothers living a common life, dedicated to the imitation of Christ, and working mainly in popular missions for peasants in rural areas. Almost as an omen of what was to come later, he found himself deserted, after a while, by all his original companions except one lay brother. But the congregation managed to survive and was formally approved 17 years later, though its troubles were not over. </p>
		<p>Alphonsus’ great pastoral reforms were in the pulpit and confessional—replacing the pompous oratory of the time with simplicity, and the rigorism of Jansenism with kindness. His great fame as a writer has somewhat eclipsed the fact that for 26 years he traveled up and down the Kingdom of Naples, preaching popular missions. </p>
		<p>He was made bishop (after trying to reject the honor) at 66 and at once instituted a thorough reform of his diocese. </p>
		<p>His greatest sorrow came toward the end of his life. The Redemptorists, precariously continuing after the suppression of the Jesuits in 1773, had difficulty in getting their Rule approved by the Kingdom of Naples. Alphonsus acceded to the condition that they possess no property in common, but a royal official, with the connivance of a high Redemptorist official, changed the Rule substantially. Alphonsus, old, crippled and with very bad sight, signed the document, unaware that he had been betrayed. The Redemptorists in the Papal States then put themselves under the pope, who withdrew those in Naples from the jurisdiction of Alphonsus. It was only after his death that the branches were united. </p>
		<p>At 71 he was afflicted with rheumatic pains which left incurable bending of his neck; until it was straightened a little, the pressure of his chin caused a raw wound on his chest. He suffered a final 18 months of “dark night” scruples, fears, temptations against every article of faith and every virtue, interspersed with intervals of light and relief, when ecstasies were frequent. </p>
		<p>Alphonsus is best known for his moral theology, but he also wrote well in the field of spiritual and dogmatic theology. His <i>Glories of Mary</i> is one of the great works on that subject, and his book <i>Visits to the Blessed Sacrament</i> went through 40 editions in his lifetime, greatly influencing the practice of this devotion in the Church.</p> American Catholic Blog Ultimately there is no friend who can fully understand us, who can walk with us all the way. We must go forward and walk on our own in response to who we are and who we are called to be in God. —Thomas Merton

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