⭐️ ⭐️ ⭐️ ⭐️ 1/2 (out of 5)

Alex Garland (Ex Machina, Annihilation) may not be a name as familiar to many. Yet, in his film making career, he has managed to write and direct some of the most creative works in cinemas. His vision of a dystopian future combines brilliance with an unnerving component that has garnered characters and stories that continue to capture the imagination. His latest project taps into the potential division within the United States, leading to a civil war between the states and the federal government.

Garland embeds the audience into the centre of the action as it unfolds with a team of journalists trying to get the story affecting the country out to the world. Photojournalist Lee Smith (Kirsten Dunst) leads a small team that foresees the downfall of the current administration and strives to get to Washington, DC, before the Western forces. Yet, the journey is marked by precarious situations in every community as anarchy and confusion have taken over the country since law enforcement has been disbanded. Their press credentials allow the team to move through each community and even provide them access to local battle scenes that occur along the way. As Lee tries to protect and mentor the aspiring photographer, Jessie (Cailee Spaeny), her Reuter’s partner, Joel (Wagner Moura), attempts to navigate the backroads of America to get them to the nation’s capital before it falls.

From the opening scene, Garland’s story announces the cautionary messaging of how close the United States is to destroying itself from within its own borders. Yet, the masterful manner that this film maker has gone with this storyline is how he manages to do this without taking clear sides on the topics affecting the country. He doesn’t pit race, social class or political affiliations against one another. Instead, the writer/director shows how horrifically this war would impact everyone, even those who choose to ignore what is happening in their neighbourhood. As a neutral observer, he gives the viewer a perspective of judging each community and situation without making commentary that would steer the interpretation of each scenario as it unfolds. As these journalists travel between communities, military actions and personal challenges, the audience gets a front-row seat to the horrors of war that should lead to reconciliation within this mighty nation.

Americans will feel mixed emotions as the movie rolls forward, which will cause tensions between patriotism, justice and what it is to be an American. What is most unnerving is the plausibility of all of this unfolding and how unnerving this possible reality impacts the emotional state of a nation. Kirsten Dunst, Wagner Moura, Stephen McKinley and Cailee Spaeny make a perfect social experiment that represents the majority of the population and how each sees the downfall of America in a different way. Outside of some unlikely scenarios and equipment usage, there is little to discredit Alex Garland’s film. Every scene has a purpose; each character serves their role convincingly, and the story allows the audience to determine what they must do with what unfolds before them. Civil War proves to be a warning for countries and people that should lead to conversations of unification, forgiveness, identity, and reconciliation.

Reel Dialogue: Where do we find our identity?

One of the most profound moments in the film developed into one of the most ghastly as the journalists were asked, ‘What kind of American are you?’ This is a question that strikes right at the heart of personal identity. The answer to ‘Who are you?’ has plagued philosophers, theologians and university professors for centuries. The world of Civil War continues the discussion on identity by evaluating what it takes to determine who you are in this world.

Remember that this is a work of fiction. Still, these questions should force every one to determine who they are and what defines their existence. Fiction or not, it does not minimise the fact that people continue to question what it means to be a person. What might surprise many people is that there is one reference that can answer this question, the Bible.

It states that regardless of where we were born, where we live and what political affiliation we may identify with, we are made in the image of God, which means that God has a particular position for us in this world. An answer that merely begins to provide the direction to this existential query. So, why not dig in more? Interestingly, this study of humanity could bring one closer to knowing God and more about who you are.

So God created man in his own image, in the image of God he created him; male and female he created them. – Genesis 1:27

If you would like to discuss themes from Civil War reach out to us at Third Space. We would love to chat with you about this and more.

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Mike Pinder, the keyboardist and last surviving original member of the rock group the Moody Blues, has died. he was 82.

Moody Blues bassist John Lodge posted a statement from Pinder’s family to Facebook. “Michael Thomas Pinder died on Wednesday, April 24th, 2024 at his home in Northern California, surrounded by his devoted family. Michael’s family would like to share with his trusted friends and caring fans that he passed peacefully. His final days were filled with music, encircled by the love of his family. Michael lived his life with a childlike wonder, walking a deeply introspective path which fused the mind and the heart.”

Pinder, born in the Erdington area of Birmingham, England, in 1941, co-founded the group in May 1964, co-writing the early hit “Go Now.” After several early lineup changes, in 1967 they released “Days of Future Passed,” considered one of the first prog-rock albums, which also saw Pinder’s debut recording with a Mellotron — an early electro-acoustic keyboard that uses manipulated tape loops to create an otherworldly orchestral sound.

The instrument became a hallmark of Pinder’s style in the group, including on its timeless single “Nights in White Satin,” one of classic rock’s most soaring ballads, which eventually hit No. 2 on the Billboard charts. While the Moody Blues were entwined with the late ‘60s hippie era, the band never made it to the canonical Woodstock Festival — they were booked and on the original poster, but canceled for a European gig.

Pinder was an occasional vocalist in the Moody Blues, singing on tracks like “The Day Begins” and “Ride My See-Saw,” and drove the band to even headier progressive terrain on LPs like 1968’s “In Search of the Lost Chord” and 1969’s “On the Threshold of a Dream.” These albums would influence a generation of ‘70s prog acts like King Crimson, Genesis and Yes.

Pinder would go on to release nine albums with the band, including 1969’s “To Our Children’s Children’s Children” (inspired by the first moon landing), and broadened his repertoire of instruments to include Chamberlin and synthesizers. His last contribution to the group was 1978’s “Octave,” where he sang lead on the ballad “One Step Into the Light.”

During and after his stint with the band, he released three solo albums — 1976’s “The Promise,” 1994’s “Among the Stars” and 1995’s “A Planet With One Mind.”

The Moody Blues were inducted into the Rock and Roll Hall of Fame in 2018. A full list of survivors was not immediately available.

“He created his music and the message he shared with the world from this spiritually grounded place,” Pinder’s family said in their statement. “As he always said, ‘Keep your head above the clouds, but keep your feet on the ground.’ His authentic essence lifted up everyone who came into contact with him. His lyrics, philosophy, and vision of humanity and our place in the cosmos will touch generations to come.”

Review: Set against the eerie backdrop of a sprawling mansion, the film introduces us to a seemingly straightforward scenario: a group of disparate criminals abduct a young girl in the hopes of a big payout. However, as the story unfolds, it reveals a layered and darker narrative: the apparent victim, a young girl named Abigail, is anything but helpless. Directed by the duo Matt Bettinelli-Olpin and Tyler Gillett, ‘Abigail’ reinvigorates the horror-thriller genre with a compelling twist on the classic kidnapping plot. The film would arguably be far more effective if the twist were hidden from its marketing, but ‘Abigail’ is still a compelling watch.

A lot of that is credited to the ‘little girl’ Abigail. Alisha Weir delivers a standout performance, masterfully oscillating between angelic innocence and chilling malevolence. Her balletic movements, which transition into deadly attacks, add a hauntingly beautiful dimension to her character’s ferocity. Dan Stevens excels as the mercurial ex-cop Frank, whose unpredictable nature keeps the audience on edge. Melissa Barrera’s nuanced performance as a tough yet motherly Joey adds emotional depth, portraying a conflicted figure who forms a surprising bond with Abigail. The rest of the cast also enriches the film’s dynamic by bringing their own complexities and secrets into play. The chemistry among the cast amplifies the energy, with each actor drawing on their strengths to elevate the narrative’s intensity and unpredictability.

While ‘Abigail’ excels in pushing boundaries with its graphic violence and rapid narrative shifts, these elements sometimes hamper the film’s pacing and coherence, especially in the third act. The visual style, marked by a gritty and dark aesthetic, intends to enhance the ambience but occasionally makes it difficult to appreciate the meticulous special effects and fight choreography that is central to the film. Despite these critiques, ‘Abigail’ tactfully combines character-driven storytelling without the usual trappings of a horror thriller. It meshes sharp, witty dialogue with brutal action to keep the audience engaged and guessing. This film not only pays homage to classic horror but also carves out its niche with a blend of gore and humour that turns a clichéd premise on its head.