Sound of Hope: The Story of Possum Trot

Inspired by a powerful true story, Sound of Hope tells the tale of a small-town pastor’s wife igniting a fire in the hearts of their rural church community in Possum Trot, East Texas. Theirs is a mission to embrace the unwanted children in the foster system, the damaged young souls who have been thrown away. Against all odds, this modest village in the middle of nowhere adopts 77 of the most broken children and proves that with God’s love and a lot of prayer, the battle for America’s most vulnerable can be won.

Sound of Hope: The Story of Possum Trot – Review

Some people in this world have harrowing tales of courage and bravery, and some whose selflessness and trust in Christ glorify the Lord so profoundly that their stories inspire generations. Possum Trot’s people are truly God’s children, and their good works surely please Him greatly.

After the disappointment that was the mishandled Sight, Angel Studios has redeemed itself with another powerful movie about the soaring heights of human compassion. Sound of Hope succeeds not only in subject matter but on all cinematic fronts. Every actor gives a present and natural performance while delivering economic and organic dialogue filtered through the relatable experiences of the character’s extraordinary times.

The result is that Sound of Hope: The Story of Possum Trot is a grounded story that stays out of its own way. The filmmakers clearly understood the inherent power of this real-life drama, and they let it unfold like beautiful music, allowing it to envelope the listener with rousing peaks of optimism and the desperate isolation of fear and doubt only to soothe audience’s wounds with the depth of God’s love and the power of giving over to his will.

While it’s not without its flaws, for instance, the early narration is largely unneeded and a little heavy-handed, the flaws are nothing in comparison to what the filmmakers get right.

Sound of Hope will reaffirm your faith and move you to tears of sorrow and joy. More importantly, it will move some to action. Whereas Sound of Freedom taught us that God’s children are not for sale, Sound of Hope teaches that God’s love can change the world.

WOKE ELEMENTS

Zilch

• Woke free, and it feels so good.

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Chip Chilla

Chip Chilla is a delightful cartoon series about a homeschool family of chinchillas and the adventures they have while teaching and learning valuable lessons. Harkening back to a time when children’s stories were as much about teaching practical and wholesome life lessons as they were entertainment, Chip Chilla is entertaining enough to have my two-year-old son (who only ever wants to watch Paw Patrol and classic Justice Friends cartoons) asking for more.

Whereas many of today’s offerings for small children fall into one of two categories: bright colors and loud noises with no substance or redeeming qualities or bright colors and loud noises with a heaping side of Woke indoctrination, Chip Chilla separates and elevates itself in virtually every respect.

It’s on par with any of the current mainstream two-dimensional animated children’s programs in both production quality and design. Its color palette is rich without being overbearing, and its animation is smooth and pleasing to the eye instead of seizure-inducing. It’s very reminiscent of the popular children’s cartoon Bluey, except you don’t have to worry that the next episode is the one in which Disney will squeeze its “not-so-secret gay agenda” down your child’s throat.

In the 24+ hours since Bentkey’s public release, a few aspersions have been cast at Chip Chilla. Specifically, that it is too reminiscent of Bluey. However, for those critics, we have but two words: Berenstain Bears. For as long as there have been ideas, there have been those who hold similar ones. What matters is what’s done with them.

What most sets Chip Chilla apart from other conservative-leaning cartoons of its type are the writing and voice talents. Often, conservative, especially religious, cartoons will suffer significantly from the shallow talent pool available to them. That said, Bentkey’s flagship toon features none other than recently uncloseted conservative-leaning (i.e., not insane) comedian Rob Schneider, as the titular character’s father, Chum Chum, as well as a host of talented, if unknown voice actor, and Chip Chilla’s vocals are as solid as its animation. Each performer breathes life into their respective character, and the animators are blessedly up to the challenge of giving that breath commensurate physicality.

Further differentiating itself from other mainstream offerings, and probably its most important distinction, are the lessons it teaches. Where Dora The Explorer treats your children like they will never have the capacity to wipe themselves clean, and countless cartoon series exist for no other purpose than to teach the alphabet, Chip Chilla acknowledges that boys learn differently than girls and that the application of science can be energetic and fun, or that you’re not always going to be the best at everything but you can be the best at something, and that hard work (rather than an unwarranted belief in oneself) is the key to achievement.

If we have one criticism of the show, it is that 8 minutes per episode isn’t enough. While there’s no arguing that it makes for a tightly woven program with no fat on it, it would be nice to see it paired with a sister program (e.g., Garfield and Friends).

ROLE MODELS IN CHIP CHILLA

Chip’s mom and dad are loving, thoughtful, and deeply engaged in their children’s lives. They also model traditional gender roles for their children, offering a level of stability that is sorely lacking in many modern homes.

WOKE ELEMENTS

Chip Chilla is the nega-woke.

The post Chip Chilla first appeared on Worth it or Woke.

The Blind

Based on the real-life events of Phil and Marsha (Miss Kay) Robertson, The Blind delves deep into their lives, starting with their childhood and concluding with Phil’s descent into darkness and life-saving salvation.

Redemption stories are the ultimate underdog tale, and that is one of The Blind’s strongest assets. However, it’s certainly not its only one. It’s a beautifully shot film and cinematographer Chris Stacey should be applauded for his efforts. He provides some exquisitely framed moments and does an excellent job of visual storytelling without getting in the narrative’s way by over-stylizing, which is a particular triumph when one considers his limited experience (The Blind is his 3rd feature-length film).

Offering audiences the film’s standout performance, Amela Eva gives a fantastic turn as the adult Miss Kay. Eva remains present and fully invested in her character throughout, delivering both well-scripted and the occasional but noteworthy clunky line with grace and sincerity.

Not far behind Amela, is Aron von Andrian who plays adult Phil. von Andrian, an English native, has numerous excellent moments throughout The Blind. At his strongest during Phil’s spiral into debauchery, which is the bulk of the film,  there is never a moment in which von Andrian does not appear fully invested in Robertson.

von Andrian’s commitment and obvious skill make it all the more frustrating when he has to deliver some of the film’s clunkiest and most artificial-sounding dialogue. There aren’t many instances of it, but when it occurs, Laurence Olivier‘s prodigious talent wouldn’t have been sufficient to rescue it. Furthermore, von Andrian isn’t aided by some horrendously fake-looking beards and beard dye jobs or his native accent.

There are definitely a smattering of  Walking Dead “Coral” moments.

As engrossing as most of the film can be, there are a regrettable number of scenes in which the viewers are ripped away from their investment in the film’s reality to return to the duck blind in which von Andrian’s Robertson is telling his life’s story to an old friend. These and the copious voiceover narration are the film’s least impressive aspects. Not only do the interjections serve to arrest the movie’s momentum but they eat up time that would have been better spent showing us more of Phil’s journey and robs us of the full emotional impact of his miraculous transformation.

Furthermore, much like the moral of the story, that salvation isn’t complex but necessary, Robertson’s story isn’t complex and doesn’t require a narrator’s help for the audience to grasp the significance of its beats. It’s unfortunate that director Andrew Hyatt doesn’t seem to trust himself enough to show instead of say because when he’s on, he’s on. With these infrequent interruptions notwithstanding, Hyatt keeps things moving along at a crisp pace and tells a touching and heartfelt story.

Even though The Blind isn’t perfect, its story of redemption and perseverance in the face of personal demons and human frailty is one worth watching, and much like another surprisingly engaging and overtly Christian movie from earlier this year, Jesus Revolution, The Blind is a massive step forward in the quality of these types of films. We are happy to declare that The Blind is Worth it.

The Blind Role Models

While the film provides a number of examples of people in Phil and Kay Robertson’s lives who are worthy of emulation it’s the two themselves who are the standout role models. Kay’s willingness to forgive the deepest of betrayals is a testament to God’s love and forgiveness of us.

Moreover, while Phil’s early failings are far from behaviors worthy of duplication, his humbling of himself before our Creator and his commitment to Him as well as his recommitment to his family are. Everyone falls. Not everyone gets back up.

WOKE ELEMENTS

Get outta here with that nonsense.

The post The Blind first appeared on Worth it or Woke.

A Million Miles Away

Born the son of migrant farmers in 1962 and not even learning English until the age of 12, A Million Miles Away tells the real-life story of José Hernández. Overcoming extreme poverty with hard work and dedication, as well as a devoted and self-sacrificing family, in 2009, Hernández achieved his lifelong goal and left Earth’s confines as a NASA astronaut.

A Million Miles Away is a familiar tale of perseverance and overcoming the odds to achieve one’s dreams. However, with a special mix of excellent and sometimes even inspired direction by Alejandra Márquez Abella and heartfelt performances by its cast, A Million Miles Away transcends what could have easily been a Hallmark schlock-fest. Instead, we are treated to a lovely tale that will fill you with the warm and fuzzies.

In a film without a single weak performance, the most surprising one is given by Michael Peña (Ant-Man) whose portrayal of Hernández is subtle and often touching. Aided by virtue of it being a real-life underdog story, his charisma and vulnerability are key to the film’s elevation from the mundane, making it impossible not to root for him. In one particularly stirring scene, Peña’s Hernández teeters on the edge of emasculation as he barely manages to hold on to his dignity while silently willing his wife to forgive and respect him.

It’s a common enough feeling for any man who has had to ask their family to make sacrifices so that he might gamble at success. It’s a mixture of guilt at missing ball games and first steps combined with the nearly fevered obsession with your goal and the rock in your stomach need for your wife’s respect. Peña nails it.

If the movie falters anywhere, it’s in its glossing over the cost of the sacrifices made by Hernández’s family as well as the “why” of his dream’s importance. Were it not for the craftsmanship exhibited by all, it would be easy for viewers to see Hernández as selfish.

After all, he was already a successful engineer who provided well for his family. His becoming an astronaut wouldn’t lift them out of poverty or set to rights some previously made wrong. It seems only natural that he should have a compelling reason to justify missing years of his family’s life. However, the film only grazes against this, relying on our investment in the character to blind us to the bigger picture, and it works.

With grounded and universal themes, crisp pacing, and economic dialogue delivered by solid performers and an invested and thoughtful director, A Million Miles Away is a feel-good movie that delivers on its promise.

Role Models in A Million Miles Away

There are numerous positive role models throughout the film  The obvious one is José Hernández whose determination and hard work helped him to achieve his lifelong dream. However, the love, support, and sacrifice made by his wife and parents are key to his success, firmly making them his equals in this department.

WOKE ELEMENTS

• Even though it could have been much worse, especially when you consider the real Hernández’s politics, there were a few obligatory moments of identity politics injected in.
  • There’s a brief conversation between Hernández and another minority astronaut in which she hits us with the, “do you know how important it is for people like us” to be represented routine. As though people of color are the only ones who have ever succeeded despite coming from nothing.
  • When listing the differences between himself and those who have been chosen for the space program, his wife mentions that most of them had been Caucasian. Well duh. Most of the applicants were Caucasian. And it’s not like Hernández was anywhere near the first minority in space. He wasn’t even one of the first 10 Latinos.

The post A Million Miles Away first appeared on Worth it or Woke.

Blue Beetle

Xolo Maridueña, who is best known for his role as Miguel Diaz in the Netflix series Cobra Kai, plays Jaime Reyes (pronounced HI-may – get it right, racist!), a recent college graduate who, upon returning home, discovers that his family (consisting of his mother, father, sister, grandmother, and an uncle with a head so big that he shall now be known as MODOKito) is in crisis. They are on the verge of being evicted from their home and have lost the family business.

When a stroke of good luck that lands Jaime an opportunity to work at Kord Industries quickly goes badly, Jaime finds himself inextricably merged with a piece of advanced alien tech that grants him powers far beyond those of mortal men. He will have to learn what it takes to be a hero to have any chance at defeating the evil head of Kord, who wants nothing more than to extract the tech from Jaime’s corpse and use it to create an army of super soldiers for sale to the highest bidder.

Deeply flawed, Blue Beetle has so much working against it that it has no right to be as entertaining as it is. It’s packed full of just north of mediocre actors, almost no character growth, clunky dialogue, an unimaginative and formulaic plot recycled from the 80s, more identity politics than an Al Sharpton news conference, and a dumb script written by someone whose only other full-length feature film writing credit is for the critical and box office disaster, Miss Bala.

Neither distractingly bad nor worthy of much praise, Xolo Maridueña’s Jaime has no identity or personality other than that of being a nice and well-mannered young man, and Maridueña’s performance is just as bland. He’s the cinematic equivalent of a fast-food burger; he has the form of a delicious burger, but he’s packed with soy and filler. Yet, even though his focus and commitment to the character occasionally falter, he manages to come across as a kind-hearted and sweet kid. It earns him a lot of goodwill, and that’s sort of the film’s special sauce.

Even when presented with a snarky and unpleasant sister, overplayed and underperformed by Belissa Escobedo, Jaime seems nice. When he’s confronted with rudeness and injustice, he seems nice. It’s hard not to root for him, and he’s helped by a family dynamic that should irritate you because it’s so overemphasized that even The Godfather thinks it’s a bit much. However, either through film magic or a genuine fondness felt by the cast for one another, there’s a compelling authenticity to their interactions, which carries the movie.

Many claim that a film is only as good as its villain, and if that axiom holds, Blue Beetle has no hope of pulling out of its opening weekend earnings nosedive. Carapax is so generic and uninteresting that, between his scenes, it’s easy to forget that he’s in the movie. Along those same lines, the talented Susan Sarandon turns in such a forgettable performance as the big bad CEO of Kord that one wonders if she owes back taxes. Not helped by screenwriter Gareth Dunnet-Alcocer’s inexperience, Sarandon, a powerhouse actress usually capable of making cereal ingredients sound compelling, phones it in via tin can and string.

Further complicating things is George Lopez. While a few years ago, he found himself in the middle of a feud in which he accused fellow comedian Carlos Mencia of stealing his jokes, in Blue Beetle, Lopez does his best to steal every scene. Unfortunately, 90% of the time, his paranoid Uncle Rudy schtick is more obnoxious than endearing. Not known for his acting chops, Lopez often seems to be doing a mediocre impersonation of a lovable goofball rather than internalizing his performance.

Again, with all of this going against it, Blue Beetle should deserve to be buried under the Warner Bros. back lot. Instead, by virtue of excellent pacing (for the second and third acts), effects that are at least better than The Flash microwave baby, and the aforementioned sincerity, Blue Beetle manages to eke out enough chuckles and smiles from the audience while delivering sufficient action to distract you for two hours. It might not be worth seeing in the theaters, but you could rent a lot worse.

ROLE MODELS IN BLUE BEETLE

It’s been so long since I’ve had a movie worthy of this section that I almost forgot that it’s something that we do.

• Blue Beetle is nearly overstuffed with strong, loving, and  supportive family members, both men and women, who would and do put their lives on the line for one another. They are (for the most part) kind and caring, patient and understanding, as well as fierce and loyal. In a world where the word “representation” is bandied about to the point of meaninglesness, this (a healthy nuclear family) is the type of representation that we need in movies today.

WOKE ELEMENTS

For all that the movie preaches at the altar of identity politics, it promotes the importance of a loving and traditional family above all else. Further, the Catholic faith isn’t treated as a joke, and the existence of a meaningful afterlife is now DCU canon.

• So much identity politics, like all of the identity politics.
  • The parents, grandmother, and uncle are illegal Mexican immigrants, and the movie ensures that you know it and that it’s America’s fault that they are here illegally.
    • Yet, despite their illegal status, they raised two children and sent one to college (the other didn’t want to go) while owning and operating a business of their own.
  • A crack about the government being well-practiced at caging Mexicans makes its way into the film.
  • There’s something so infuriating about listening to a middling comedian who came from nothing but has been able to amass a fortune of nearly $50 million with a tired “Chicanos be like” routine, spend two hours checking off every Left-wing talking point and bashing the country that fostered his success. George Lopez should be ashamed of himself.
• Class politics are bludgeoned over the audience’s head almost as much as identity politics.
  • In one scene, in an effort to say “hello,” Jaime awkwardly interrupts a perfect stranger who is 60 feet away from him and in the middle of what is clearly an important business call. Instead of the film’s perspective being that there was no way that she could have even heard him, let alone how rude he was to interrupt, the stranger is portrayed as a self-absorbed rich white person (which she is, but that’s not the point). Jaime’s sister then dares to say, “We’re invisible to people like that.” Professional victim much?
• The film is being marketed to kids, yet there is a lot of cussing in it, and not a single curse word feels organic. Who needs to protect the innocence of children when there’s money to be made?
  • • “Crazy b!t@h.”
    • Countless “what the hells” and variations thereof.
• The costumers dressed the Jenny Kord character in unattractive and mannish clothing throughout. However, it’s unclear if it was due to the film’s pervasive Miami Vice / 80s shoulder pad and blazer vibe or a woke attempt to eschew traditional femininity. Honestly, it could go either way.
• There are so many cartoon instances of white people being racist.
• First and foremost, every white person in the film is either evil or racist or a rich douché bag. Conversely, every Latino is either a superhero, a loving and charitable family member, a compassionate business leader, or a villain who experiences a redemptive change of heart.
• There are numerous instances of white people mispronouncing Spanish names out of spite or ignorance.
  • No receptionist of a huge and posh company, regardless of how blonde her hair or blue her eyes, would continue to insult a registered guest of one of the board members intentionally by purposely and snarkily mispronouncing their name after she’d been politely corrected, especially if the board member’s last name was on the building.
  • I lived near central Mexico for a short time, and while I found the Mexican people to be mostly warm and well-meaning folk, they never got my name right once. Do you want to know what I did or said about it? Nothing, because I understood that we possessed very different accents and were raised with two wildly different languages.
• There’s an instance in which Jaime stands up for a woman, and she says, “I appreciate the chivalry, but I can take care of myself.” Ok toots. If you can’t be gracious, next time, takes your lickins.
• ***SPOILER ALERT*** Finally, because they’ve already established that a man saving a woman is problematic, the movie, in one of its more ridiculous yet heartwarming moments, sends four women with no combat skills and limited tech (with which they have minutes to familiarize themselves) to rescue a completely neutralized Jaime. Furthermore, the ladies in question consist of a 120lbs waif and three dumpy broads, one of which appears to be well into her 80s.***END SPOILERS***

The post Blue Beetle first appeared on Worth it or Woke.

Afghanistan

Originally conceived as a therapeutic endeavor for Royal Marine Commando James Glancy, Afghanistan was to chronicle his quest to uncover the true impact of his sacrifice and those of his comrades. It was meant to delve into whether their collective dedication, coupled with the ultimate sacrifices of approximately 3,000 American and British soldiers, genuinely brought about positive change in the lives of the Afghan people. What James had no way of knowing was that with nearly half of his documentary completed and having just begun to believe that he had been a force for good, President Joe Biden would make one of the most disastrous and reprehensible political decisions in the history of America, staining our country with blood and dishonor, and plunging the people of Afghanistan back into the darkness of Taliban rule.

The significance and impact of this documentary cannot be emphasized enough as we witness James’ journey towards healing, only to have his worst fears confirmed by the betrayal of the U.S. Government. Although James provides high-caliber narration and much of the film is visually impressive, it is unfortunate that the crew’s need to flee the country hampers its potential.

That’s not to say that it’s not impactful. The news footage depicting individuals climbing onto the wings of Air Force planes or desperate mothers handing over their infants to coalition troops in hopes of escaping the Taliban carries immense significance that cannot be overstated.

However, unlike 2012’s “The Queen of Versailles,” which initially explores the extravagance of the ultra-wealthy but takes a captivating turn with the bursting of the housing bubble, Afghanistan’s sudden shift in, if not exactly tone and subject but certainly perspective, prevents us from gaining an intimate view on the lives now endangered. Paradoxically, the film’s most compelling aspect, the sudden withdrawal of troops from Afghanistan, also becomes its greatest limitation as it confines the final third of the story to shots of James in his home office, reducing visual diversity and potentially diluting the overall impact.

Nevertheless, we keenly sense James’ frustration as he is forced to observe the events from afar through video chats and frustrated phone calls. In defiance of this limitation, James and his team still manage to capture the heartbreak and devastation caused by our country’s abandonment of the Afghan people.

With solid narration, some excellent footage, and a topic of the utmost significance, Afghanistan is completely Worth it.

ROLE MODELS IN AFGHANISTAN

The profound depth of courage and resilience displayed by both men and women who made sacrifices or lost their lives, whether in the pursuit of peace or under the oppressive grip of tyranny, is truly remarkable.

WOKE ELEMENTS

None.

The post Afghanistan first appeared on Worth it or Woke.

“Because God’s children are not for sale.” – Tim Ballard

Every 40 seconds, a child goes missing in The United States of America. Of those taken, millions are sold into sex slavery. The average life expectancy of a child sold into sex slavery in the United States is 7 – 10 years of age, and The United States of America is one of the top destinations for human trafficking and is among the largest consumers of child sex.

**STOP** Before you read any further, click this link to pre-purchase your ticket as well as Pay it Forward, and purchase a ticket for another. This cannot be another “conservative” film that does “well for independent films.” It must and can be a blockbuster, but it takes all of us DOING something about it. Buy your tickets now, and help to spread the word.

Sound of Freedom

How often have we heard some moronic actor and filmmaker say that their piece of garbage propaganda piece posing as a film is “important?”

Well, here is one that actually is, not because it’s excellent (it is), not because it’s gripping (it is), nor because it will haunt you long after the curtain falls (it will), but because its message is so very necessary and it’s goals so very attainable.

Sound of Freedom follows the early missions of the real-life Tim Ballard, played by Jim Caviezel, as he hears God’s calling to rescue children sold into slavery worldwide.

Simply put, Sound of Freedom is nearly perfect. Its gripping story is bolstered by superb performances, a crisp screenplay with economical yet powerful dialogue, and scenes of such terror as to give you nightmares, and even though it is the stuff of the most twisted horror films that will have you sweating and checking in on your sleeping children, it’s not graphic.

Much like how 1999’s Fight Club used the atmosphere and the reactions of those ancillary to the surrounding horrors to elicit the audience’s emotional investment, Director Alejandro Monteverde masterfully allows our imaginations room to breathe and us the freedom to fill in the monstrous blanks ourselves.

Very often in films with multiple children and most certainly in low-budget independent films, it’s a matter of course to have several performers who are not up to the level of its leads or the material. However, from the “smallest” role and up, God’s hands unquestionably guided everyone’s performance, with each delivering impressive and unprecedented emotional presentness. Even the child extras were pitch-perfect, a movie miracle.

Yet, in a movie full of exceptional performances, Jim Caviezel’s genius was laid bare for all to see. Undoubtedly, Jesus has a special place set at his Heavenly table for men like Tim Ballard, and in Sound of Freedom, Jim Caviezel shows us exactly why. In The Passion of The Christ, Caviezel captured what was certainly only a fraction of the otherworldly love of Christ, limited as Caviezel was by virtue of being only a man. Still, it was enough to transport the audience back 2,000 years to the side of our Lord and Savior. In Sound of Freedom, he expertly displays Ballard’s haunting sincerity and righteously obsessive drive in a complex performance worthy of every accolade.

Not to be forgotten is a sometimes funny, sometimes moving, and consistently superb performance by Bill Camp, who plays a one-time criminal turned figurative saint. Camp’s larger-than-life presence provides the film’s few but much-needed moments of levity without ever compromising the film’s emotional core. He is the perfect sidekick to Caviezel’s determined Ballard.

Although the child actors were already mentioned, no review would be complete without exhorting the nuanced and moving performances of the children who play brother and sister kidnap victims, Miguel and Alanna. It would have been easily forgiven had these two young performers been wooden or melodramatic. However, both were touching and compelling and will undoubtedly bring you to tears more than once.

Of course, no movie is flawless, and Sound of Freedom is no exception. The first act’s last few minutes suffer from minor pacing problems, and the cinematography, while mostly excellent, tends toward the utilitarian when something slightly more dramatic would better serve the narrative. Finally, there is a very brief scene set in the remote jungles of South America, in which Caviezel’s Ballard is texting with his wife on what appears to be a standard cell phone. It’s a nitpick, to be sure, but it was a momentary distraction in an otherwise laser-focused movie.

When all is said and done, Sound of Freedom is a must-see movie for everyone over the age of 15 and older (depending on your child’s level of sensitivity – I would let my 13-year-old daughter watch it and pray that it helps to keep her safe). It is most definitely Worth it.

Sound of Freedom ROLE MODELS

We’ve recently added the Role Models section to our site. The purpose of this is to highlight movies, regardless of overall quality, that possess characters with traits worthy of adoration and emulation. For instance, in the movie Air, Viola Davis plays Deloris Jordan, a strong (but not mannish) woman and mother. She’s an ardent and wise steward of a son whose future excellence she recognizes and helps to foster.

Sound of Freedom is replete with male role models who are self-sacrificing, determined, and possess the potential for just danger, which they righteously visit upon the wicked.

That being said, Oscar-winning Mira Sorvino plays Tim Ballard’s wife Katherine, and even though she is only on screen for fewer than five minutes, the real-life Katherine is as much of a hero as her husband. Knowing that she could end up raising their six children alone and that she would be doing so without the aid of Tim’s pension, she encourages him to quit his job ten months before he can access it so that he can put his life on the line to save the most innocent and precious among us in a venture that begins with no financial backing and virtually no real plan.

WOKE ELEMENTS

None

Operation Underground Railroad (O.U.R.)

“Tim Ballard spent more than a decade working as a Special Agent for the Department of Homeland Security, where he was assigned to the Internet Crimes Against Children (ICAC) Task Force and deployed as an undercover operative for the U.S. Child Sex Tourism Jump Team.

He has worked in that role and since in every type of case in the fight to dismantle child trafficking rings. He’s worked in the United States and in multiple foreign countries to infiltrate child trafficking organizations. He has successfully dismantled dozens of these organizations and rescued children from slavery and exploitation.

While working for the government, Ballard saw how much more is needed in the fight against child trafficking and exploitation across the world. In 2013, he and a team of former government operatives left the security of their careers to accomplish the work of rescuing children as a private foundation – Operation Underground Railroad. At O.U.R., Tim has created a team that can work in any jurisdiction and in conjunction with law enforcement to rescue children directly. That team exists today and operates all over the world.” – O.U.R.

To donate to O.U.R.

The post Sound of Freedom first appeared on Worth it or Woke.

*UPDATE* Well, d@mn. I first saw this film in Mexico, and it either wasn’t in that version, or I missed it, but there is a blink-and-miss-it 2.5-second flash of a “Protect The Trans Kids” sign in Gwen’s bedroom. I cannot, in good conscience, promote a movie that even for one moment promotes the mutilation and sterilization of children. So, we’ve removed it from our Worth it section and adjusted our woke rating accordingly.

Spider-Man: Across the Spider-Verse

It’s been over a year since the events of Spider-Man: Into the Spider-Verse thrust the mantle of Spider-Man onto a then 14-year-old Miles Morales. In that time, and having been returned to her universe, Gwen Stacey has continued to struggle with the realities of her dual identities and the tension that her secret has put on her relationship with her father. So, when that tension finally comes to a head, and she’s given the option to leave her life behind and join a multiverse-protection force consisting entirely of Spider-People, that’s precisely what she does.

At that same time, Miles Morales has grown as a superhero and a young man. Now, nearly 16 years old, he, too, is dealing with the natural consequences of living two lives. He’s constantly late to important events and occasionally classes, and his parents are at a loss as to what to do since he has kept them in the dark about his crime-fighting activities.

When Gwen disobeys orders to visit Miles in his universe, she inadvertently sets in motion a series of events that could destroy not only Miles’ life but his universe and perhaps even the entire multiverse.

Spider-Man: Across the Spider-Verse is a nigh epileptic seizure-inducing spectacle with excellent vocal performances, a compelling plot, and almost always break-neck pacing. Once again, the voice actors who brought Miles, Stacey, and Peter to life in the last installment return to the Spider-Verse and breathe life into what could have easily been a movie that was more eye candy than steak.

The filmmakers have done an excellent job of juxtaposing universal themes with a plot that spans the multiverse while keeping the heart and humor that made the first one so refreshing. Unlike so many other films, Miles’ coming-of-age story (for that’s what this is at its crux) chooses to treat the hero as a hero instead of a bumbling fool or whiny teen who is super bummed that he can bench-press fire trucks. Neither is he a perfect being who can do no wrong. Instead, Miles is expertly portrayed as a young teen who, thanks to a good upbringing courtesy of a loving, stable, and sometimes stern mother and father, knows the difference between right and wrong and is a superhero because he sees it as a privilege, not a burden.

On that note, from family meals started with a prayer to the integral necessity of hardworking fathers who love with strength and dedication, this film is full of wonderful and wholesome imagery and themes. While not perfect, Miles and Stacey’s dads are portrayed with more respect and care than 95% of men in films in the last 20 years. Concurrently, Miles’ mom is strong without being overbearing and mannish. It’s refreshing and allows the audience to identify with the characters in a way that enhances the film’s emotional underpinnings, like movies of yesteryear.

Moreover, the film’s primary antagonist is equally complex, piledriving Miles with vitriol as devastating, if not more so, than any drubbing, but what’s really wonderful is that he’s as much of a physical threat as an emotional one. His machinations put Miles in an impossible position and pit him against those who would be his allies while endangering the lives of those he holds most dear.

Spider-Man: Across the Spider-Verse really does have it all. Unfortunately, it has it ALL. As well done as it is, it’s also overlong by probably 30 minutes and crams in ALL of the Easter eggs while forcing in numerous subplots as filler, all to artificially extend the runtime (2h 20m) so that Sony can justify making it a two-parter and milk out as much green as possible. That being said, even though you’ll know that you’re being manipulated and the film isn’t without its warts, you won’t care. The only thing that will upset you is that it’s over, and you have to wait until at least March 29 of next year to find out what happens.

When the Spidey-tingling finally stops, and the rogue’s gallery settles down for the night, Spider-Man: Across the Spider-Verse is an excellent sequel to the original and a terrific addition to the Spider-Man legacy.

INAPPROPRIATE ELEMENTS FOR CHILDREN IN SPIDER-MAN: ACROSS THE SPIDER-VERSE

• A couple of curse words were uttered once: “hell” and “ass.”
• The action can be intense at times for the very sensitive or young.

WOKE ELEMENTS

There’s a case to be made about virtually the entire cast. However, Miles Morales, Miguel O’Hara, et al. have been established canon for a decade or more (the exception is Gwen, who’s only been Spider-Woman for nine years). So, while I agree that the impetus for Miles’ and Gwen’s characters in the comics was intersectional instead of creative, their prior existence precludes them from dinging our score for the film.

• There is a flash of a “Protect Trans Kids” sign in Gwen’s bedroom. It’s so brief that it took two viewings and knowing to look for it for me to see it.
• Miles has a BLM badge on his backpack that you have to be looking for in order to see.
• Pregnant Spider-Woman (not Gwen) is fighting while pregnant like it’s not wildly irresponsible.
• The only white guys in the film are Ben Riley (who’s violent and crazy) and Peter Parker from the first one.
  • While Peter is a broken man in the original film, in this one, he is once again whole and happy. Unfortunately, that means that he’s also a ridiculous goofball who isn’t taken seriously by anyone.
• While it certainly makes sense for there to be diverse Spider-Folk across the Spider-Verse (there was a Spider-Pig in the last one), it’s rather coincidental that the only ones of any note in this version are those that mark off intersectional quota boxes for the studio.
• There’s a white woman who is cartoonishly (no pun intended) racist. However, she sounds like a well-meaning, college-educated white suburban leftist woman who thinks she knows what’s best for minorities.
• While thematically important, Miles’ dad’s character gets pushed to the background to allow Miles’ mother a chance to impart life lessons. However, based on the theme, it would have made a much more significant emotional impact had it been his dad.
• They manage to squeeze in a line about British colonialism.

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Guy Ritchie’s The Covenant

It’s hard to believe that the same man responsible for the trash that was Operation Fortune could have had anything to do with this thrilling and powerful piece about loyalty and what it means to be a man of honor. However, Guy Ritchie put on his big-boy pants and, together with some excellent performances by its leads, delivered a war movie with as much heart as it has explosions. Furthermore, the heart hits harder than the mortars…if only just.

Without spoiling too much, The Covenant follows a group of military specialists, led by Master Sergeant John Kinley, played by Jake Gyllenhaal. Their specialty is tracking down and neutralizing I.E.D (Improvised Explosive Devices) “factories,” and they are good at what they do. On one such mission, everything goes t!t$ up, and Master Sergeant Kinley is severely injured. Fast forward several weeks and Kinley is haunted by a debt that he now owes one of his men.

With outstanding and tension-building pacing, economical dialogue, and excellent performances, Guy Ritchie’s The Covenant is a deceptively simple story that uses every part of the buffalo. There’s no gratuitous and melodramatic use of slow-motion, and Ritchie and Company use every camera angle and explosion to make you feel as though you are there with the characters. A restrained Guy Ritchie might just be one h3!! of a filmmaker.

Every performer, from Gyllenhall to the extras is one-hundred percent invested in the present, which only serves to draw the audience in further. What’s more is that the leads expertly play experienced men of war, so much so that the subtlest crack shown in their emotional armor is made devastating to the audience. We feel exactly what they want us to feel when they want us to feel it, and it’s a refreshing and much-needed change from what’s become the malaise of being “blown away” by “incredible” CGI or “chuckling at the newest and darkest humorous way to explode a person.

Speaking of CGI, it was used so sparingly and adroitly and then only to augment the practical effects that the audience isn’t once taken out of the moment to applaud the special effects. That may be the best thing about this movie, all of the components are weaved together in such a way that from the opening title card to the closing, audiences get to experience the pleasure of thoroughly enjoying a movie as a visceral experience, just like we used to.

When the shrapnel settles and the drones land, Guy Ritchie’s The Covenant is a must-see war pic that we are gratified to mark as Worth it.

EDITORIAL

In the excerpt, I mention that audiences will be p!$$ed off by this movie, and rightly so. That’s because the crux of the film is about how our government treated those brave Afghanis who put their lives on the line to aid our troops in defeating the evil that is the Taliban. In 2021, the Biden administration threw them away, and it’s a stain of blood on our national honor that won’t soon be wiped away.

WOKE ELEMENTS

None.

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