Review

Culture

Film & TV

3 October 2023

7 min read

Two terrible travelogues in search of their storylines

Yaroslav Walker would rather get to a monastery than recommend these threequels.

Yaroslav Walker

Yaroslav is assistant priest at Holy Trinity, Sloane Square, London.

A family arrive at an overnight stay, enter a room and look around uncertainly

The cast of My Big Fat Greek Wedding 3 look for its storyline.

Universal Pictures.

Welcoming a baby boy to my family (pause for applause) has left my September rather busy, and I couldn’t face anything too meaty and intelligent and subtle in my viewing: I wanted some simple fare that would be both entertaining and familiar. I was, therefore, delighted to see that September was a month of ‘threequels’. I am a big fan of both My Big Fat Greek Wedding and The Equalizer; they are uncomplicated and inviting, funny and charming, doing what they do (romantic comedy/culture-clash/action/man-against-the-world) efficiently and good-naturedly…

Their third instalments fail spectacularly.

My Big Fat Greek Wedding 3 is neither charming nor funny, and it hardly has any wedding in it. The first instalment was a delightful example of a classic American movie trope: culture clash between the first and second generation immigrant communities that make up the country. Tula Portokalos falls in love with a handsome WASP, while her family want her to marry a nice Greek boy. As they prepare to marry, Nick (the fiancé) has to assimilate to the Greek way of living (and really rather likes it) and Tula comes to learn to be far more accepting of her heritage and her family. Part two is less funny and less engaging – a convoluted plot about the mother and father of Tula never being truly married, and having a later-life wedding – but revisits the old favourite characters, and introduces a daughter to take up the ‘growing-pains-culture-clash’ dynamic (Tula repeating her father’s iconic line in a nice way).

My Big Fat 3k Wedding has now divested itself of all humour and winsomeness. Gus (the patriarch) is dead, and his widow may have dementia. It was his dying wish that his children take his old diary and hand it over to his three childhood friends. Its Holiday on the Buses then. Its ‘we-have-run-out-of-ideas’ so let’s go abroad. It’s a travelogue rather than a rom-com, focused on giving you an lovely panoramic shot of provincial Greek living. That aspect of it is fairly spectacular: the cliffs, the sea, the distressed cottages with just the right amount of cracked plaster and whitewash…ah, 90 minutes of that would’ve been lovely. Instead, the truly great character of the Greek countryside is constantly sidelined by turgid dialogue and performances that are either flatter than a pita or a gurning mess better suited to children’s television. There is one good joke delivered in such a staccato as to miss the punchline, half of the original characters are absent, and the wedding comes out of nowhere and doesn’t have any impact.

The truly frustrating thing is that there seems to be no central theme, no thrust, no point. The first was a classic rom-com, with elements of culture clash and ugly duckling and mad families. The second was about aging and how parenting changes you. 3k Wedding has too many themes and none. A storyline about having a parent with dementia, ignored. A story about grief, barely given the time of day. A story about forbidden love and refugees and the migrant crisis, there only when convenient. A story about bucolic provinciality coping with a 21st century world, there only in snatches. The closest thing to a coherent theme is that of culture and soil and homeland having a pull and a power on even those who grew up across an ocean, and that is a genuinely interesting idea to explore…then a gurn and a non-joke and a shot of a goat…its rubbish.

1.5 stars.

The Equalizer 3

A serious looking man in black sits pensively on a carved chair.

The Equalizer will not be happy with this review.

A travelogue at the start of the month and one at the end with The Equalizer 3. 3qualizer is a second reuniting of star Denzel Washington and director Antoine Fuqua, who made some cinematic magic with the first film. Denzel is Robert McCall, an expert government assassin who can kill you within 9 seconds, and that’s without a weapon in his hand. McCall starts the first film adrift, his wife has died and he is retired and now he has no direction or purpose. His spark of life is reignited when he meets a young prostitute, takes pity on her, and proceeds to kill every Russian mobster who has ever even looked at her.

It is glorious. McCall’s obsessive-compulsive precision is turned into a joyous conceit where he can say exactly how long it will take him to kill every person in the room. It is pacy, it is non-stop, with a simple yet effective plot and a mesmerising Denzel performance (when is he anything less!?). The second instalment is less effective, with a more meandering plot, but still good fun. McCall has decided he will find meaning in his later life by putting his skills to the service of the underdog. He is The Equalizer, cutting villains down to size and bringing justice to the lowly. He takes on a fatherly duty with a young man who is in danger of joining a gang, and he executes all the bad men who killed his oldest friend.

3qualizer is…in Italy. Why is it in Italy? No idea. Perhaps McCall has caused too much property damage in the US. McCall is sitting in a chair in a wine cellar in Sicily. A bad man walks in. He informs him how many seconds it would take and then dispatches the rotters. As he is leaving he is shot (in the buttocks?) by the young son of the chief baddy. He drives as far as the Amalfi Coast where he is saved by a local policeman and a local doctor. Then…he goes for walks. He enjoys Italian coffee. He meets the locals. He eats pasta. He becomes both dull and unbearably quirky at the same time.

There is no real plot. Mafiosi terrorise the town for no discernible reason. McCall kills them. More Mafiosi come. McCall kills them. Two…two action scenes after the wine cellar, that is all I counted. When the film ended I had to do a double take and wonder if I’d fallen asleep. I’m not suggesting the first two films were Barry Lyndon, but they had a plot with some twists and turns – 3qualizer has a whole lot of scenery. Like Greece, the Amalfi Coast looks gorgeous, but I didn’t pay my money to watch an extended message by the Italian tourist board.

There’s a side-story about a CIA agent cutting her teeth on the fallout of the Sicily shootout…why? Mysterious as McCall’s original presence there. Nothing makes any sense or connects and it's just as turgid as 3k Wedding, which is far worse a sin for an action movie to commit. So you know, both questions are answered at the end of the film and the answers relate to nothing, NOTHING we see in the main body of the film.

McCall’s story ends with him being embraced by the villagers and him embracing them…? I HAVE NO IDEA! It is unclear and sloppy, and (perhaps because of the boredom he must have felt while filming) Denzel Washington has turned McCall’s dangerous precision into a series of tics and twitches which are simply alarming.

1 star.

Two very disappointing cinematic outings which, despite being very different genres, make the same errors. Perhaps because they seem to be scrabbling to explore the same theme. What is home? What does it mean to be home and know you are home? What does it mean to be comfortable and accepted and know yourself as yourself in the place that you are? Tula seems to be trying to understand this and explore the entire concept of the ‘immigrant mindset’ by going to Greece to see her father’s village…I think this is what she is doing, again, the film makes it hard to understand its own themes. McCall is a man who has no home – his career was spent travelling (alienated from his home soil), his wife is dead (alienated from his family), and he is a man who has killed too many people (alienated from himself). Perhaps a small fishing village will give him the simplicity of life that can save his sense of self.

Both Tula and McCall start to unravel their existential crises by fleeing the big city, embracing quieter and humbler surroundings, and coming to understand the nature of community that is symbiotic and self-giving and joyous (something McCall has never had, and something Tula has struggled with in terms of her own family). In both, there is something of a monastic pattern. Coming away from distraction and metropolitan living and building a community of reciprocity in the wilderness, this is the aboriginal pattern of life for the monk and the nun – from St Anthony in Egypt to St Benedict in Italy, Christians in the East and West have benefited greatly from the prayers and example of holy men and women who live the ‘religious life’.

The great insights of monastic living – simpler living of work and rest in intentional community where one lives from the whole as much as for the self – are having a bit of a come-back in secular society. Whether it is the meditative practice of the Desert Fathers entering mindfulness manuals, or the Rule of St Benedict (ordering the life in community for a Benedictine monk) being used to train managers in major companies, the wisdom of monasticism has endured even into the 21st century post-Christian world. Tula and McCall find some peace in this wisdom; they don’t embrace the religious life, but they do find comfort and stillness and real joy in a life that slows its pace and opens itself up to a community of service and sacrifice and love. 3k Wedding might symbolise this with the presence of an actual monk in the film…doubtful, but one can hope.

This is an insight far better expressed by reading about monasticism. Do that, rather than watch these films. They’re rubbish.

Article

Character

Culture

Leading

Virtues

19 September 2024

6 min read

What is Putin thinking? And how would you know?

The self-centeredness of modern culture is antithetical to strategic thinking.

Emerson Csorba

Emerson writes on geopolitics. He is also a business executive and holds a doctorate in theology.

Preisdent Putin stands behind a lectern with a gold door and Russian flag behind him.

What is Putin thinking?

In a world of Google Maps when walking on city streets, or of Waze when driving, it is difficult to ever become lost.

The AI algorithm provides us with the shortest route to our destination, adjusting whenever we make the wrong turn. We do not need to think for ourselves, technology instead showing the way forward.

But there are times where it is possible to get lost. This happens less in a city with its clearly set-out streets, and more so when taking the wrong turn in open expanses: hiking in the mountains, traversing farmers’ fields or while navigating at sea. In each of these situations, a miscalculation may lead to peril.

It is in these situations that we must carefully think through our steps, determining how to proceed, or whether to turn back. Often, these situations are ambiguous, the right way forward unclear.

Much of life – perhaps more than we wish to acknowledge – is like this, more akin to a walk across an open field with multiple possible routes forward, than a technology-enabled walk through a city.

When making important decisions, our grasp of a given situation, of others’ intentions and motives, and the networks facilitating and constraining action, are less evident than we may initially think.

This acknowledgement of uncertainty is no reason for delay, but rather a basis for careful deliberation in determining what to do, and how to proceed. It is necessary if we are to pursue what we believe is right, in a manner that may produce positive results.

In a recent interview with the BBC Newscast podcast, University of Durham Chancellor Dr Fiona Hill – who previously served as White House National Security Council Senior Director for European and Russian Affairs, and currently as Co-Lead of the UK’s Strategic Defence Review – provides listeners with a powerful reminder on how to proceed within ambiguous situations, especially in navigating the choppy seas, or rocky terrains, of human relationships.

Strategic empathy requires self-restraint when natural impulses urge a person to make rapid conclusions about the reality of a given situation – the default human tendency.

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Dr Hill uses the term “strategic empathy” to consider how the political West might proceed in its relationship with Russia, and specifically with Vladimir Putin.

Strategic empathy is a serious commitment to understanding how another person thinks, considering their worldview, their key sources of information (in other words, their main three or four advisors, who have a person’s ear), and other emotional considerations that underpin decision-making.

It is much more than just putting oneself in other’s shoes, as is often said about empathy. The approach is one of realism, suspending judgment based on self-protective or self-aggrandising illusions, in favour of what is actually the case.

In the case of Putin, Dr Hill helpfully reminds listeners that his worldview is drastically different than that of Westerners, and that significant intellectual effort (and specifically, intellectual humility in setting aside one’s own default frames of reference) is necessary to consider decisions from Putin’s perspective, and so make the right decisions from ours.

Technology is here an assistant but not a cure-all. Whereas AI might – based on a gathering of all possible publicly available information written by and about a particular person – help to predict a person’s next move, this prediction is imperfect at best.

There are underlying factors – perhaps a deeply engrained sense of historical grievance and resentment in the case of Putin – that shapes another’s action and that can scarcely be picked up through initial conversation. These factors may not make sense from our perspectives, or be logical, but they exist and must be treated seriously.

This empathy is strategic, because effective strategy is the “How?” of any mission. Whereas a person’s or organisation’s mission, vocation or purpose (all words that can be used relatively interchangeably) is the “Why?” of a pursuit, strategy is the “How?” which itself consists of the questions “Who?” “What?” “When?” and “Where?”

To understand how to act strategically requires a prior effective assessment of reality. This requires going beyond what others say, our initial perception of a situation, any haughty beliefs that we simply know what is happening, or even the assessments of supposedly well-connected and expert contacts.

Dr Hill’s strategic empathy is an appeal to listeners to ask questions – digging as much as possible – to arrive at an assessment that approximates reality to the greatest degree possible. This exercise might be aided by AI, but it is at its heart a human endeavour.

Strategic empathy requires self-restraint when natural impulses urge a person to make rapid conclusions about the reality of a given situation – the default human tendency. The persistent asking of questions is difficult – requiring mental, emotional and intellectual endurance.

There is considerable wisdom in Dr Hill’s reflections on strategic empathy, which extend well beyond the fields of intelligence, geopolitics or defence. The idea of strategic empathy helps show us that in much of modern culture – which glorifies the self, individuals putting their wants, needs and desires before those of others – developing strategy is very difficult.

The key then, when deliberating on potential right courses of action in ambiguous situations, is to not begin believing that the right way is clear. It rarely is.

Why is this the case? When popular culture favours phrases such as “You do you,” the you becomes a barrier to asking questions, with some aloofness to the situation, necessary for understanding how another thinks. People are encouraged to focus on themselves at the expense of others, and so fail to understand others’ worldviews and ways of operating.

Simply put, the self-centeredness of modern culture is antithetical to strategy. It impedes deliberation, which involves patience in the gradual formation of purpose for action. It wages war against the considered politics or statesmanship that many want to see return. In place of this is crisis or catastrophe, in which self-focus leads to clashes with others that could otherwise be avoided or worked through carefully.

The Biblical story of the serpent in the garden is another vantage point for the idea of strategic empathy. Soon after Adam and Eve eat the apple in the garden and become “like gods, knowing good and evil,” God searches for them and asks “Where are you?”

It is right after individuals try to become the judges of good and evil – “like gods,” that Adam and Eve find themselves lost: God’s “Where are you?”

Put differently, when a person is convinced they are right, but without asking questions, they make mistakes, they likely suffer unnecessarily because of this, and then become anchorless – the “Where are you?”

This applies to countries as much as it does to people: the more they moralize, seeking to become the judges of good and evil in a complex geopolitical landscape, the more they drift from their sense of purpose.

The key then, when deliberating on potential right courses of action in ambiguous situations, is to not begin believing that the right way is clear. It rarely is. A belief in evident rightness often leads to error, whereas the ability to suspend such judgment helps reveal – often gradually – the right path forward.

The strategic empathy approach requires both assertiveness – in asking good questions and maintaining persistence in doing so – and self-restraint in the face of believing that the right answer is clear.

The glue between assertiveness on the one hand and restraint on the other is faith, which helps a person to move forward in a trusting manner, but without exerting oneself so much so that they become the centre of the situation.

So, while Google Maps, Waze or other technologies might be at our disposal in our travels, both real and metaphorical, these technologies only get us so far.

The right way forward is seldom initially clear when navigating ambiguous situations, the frequency and stakes of which increase as we embark boldly – with faith – on the adventure of life.

Dr Hill’s strategic empathy – asking questions, listening carefully, suspending a self of sense, seriously considering diverging worldviews, and adjusting as necessary – helps us to achieve the understanding and direction we need.

Indeed, this approach is fundamental to a more effective and resilient political West. It is necessary for sounder deliberation, better strategy and statesmanship, in an increasingly ambiguous world.