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Are the millions and billions of years promoted by Evolutionists real? Answers

Top choice for accurate, in-depth information on Creation/Evolution. The SuperLibrary is provided by a top team of experts from various respected creationist organizations who answer your questions on a wide variety of topics. Multilingual.

Visit our dinosaur-size Web site where you’ll discover a mountain of knowledge and amazing discoveries. How do dinosaurs fit into the Bible? You’ll find the answer to this and many more of your questions. Play games, browse and learn. Includes many helps for teachers and parents.

DINOSAUR ORIGIN —Where did the dinosaurs come from? Answer

Are dinosaurs mentioned in the Bible?

WHY did God create dinosaurs? Answer

LIVING WITH DINOSAURS —What would it have been like to live with dinosaurs? Answer

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NOAH’S ARK—Did Noah take dinosaurs on the Ark? Answer

DINOSAURS AFTER THE FLOOD —Following the Flood, what happened to dinosaurs? Answer

Is there a connection between dragon legends and dinosaurs ?

FEAR, Anxiety and Worry —What does the Bible say? Answer

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Bravery, courage, self-sacrifice to protect others

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SUICIDE —What does the Bible say? Answer

If a true Christian commits suicide, will they go to Heaven? Answer

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C hildren and adults alike are fascinated by dinosaurs . The thought that this world was once inhabited by terrifying beasts arouses the imagination. People have shown their love for the dinosaur movie genera by flocking to the various “ Jurassic Park ” and “ Jurassic World ” films, anxious to see depictions of dinosaurs and humans together. With the public’s love for dinosaur action, I was surprised to find only a handful of other moviegoers in the theater on the opening night of “65.” It seems to have all the right elements for a successful dino film… a big-name star in Adam Driver , the interesting premise of a space traveler crashing on a world in which dinosaurs roam, a script by the writers of the very successful “ A Quiet Place ,” and lots of visually stunning action. But even with all these positives, “65” just seems to fall a little flat.

The premise of the film is a little confusing, as we are told that it is set “before the advent of man,” yet we have seemingly human characters from other worlds with advanced technology exploring the cosmos. One of these explorers is Mills ( Adam Driver ), a pilot about to leave his wife and daughter for a two year mission. Mills is hesitant to go but feels that he must for financial reasons surrounding his daughter’s illness. As she struggles with being the cause of his leaving, he lovingly tells her, “I’m not going because of you. I’m going for you.” The devotion that Mills has for his family is refreshing.

However, the two year mission becomes instead a fight for survival on an uncharted planet populated by fearsome creatures and huge insects. Even the environment of the planet itself is deadly, with a landscape in tumultuous upheaval brimming with threats at every turn. Can Mills and another survivor escape the deadly unknown planet before it is too late?

The movie feels like a rather slow race against time. The continual peril in which the characters find themselves is exhausting to watch. While there is some exciting action, it becomes a repetitive over time. Lead actors Adam Driver and young Ariana Greenblatt do their best with incredibly limited dialog and a relatively short runtime (93 minutes). While there is very little objectionable in the film (other than violent peril, some language and Evolutionism), there is also very little that I found to be truly memorable. A few scenes play out dramatically, but it is hard to become immersed in the characters and their motivations when they are in such continual unabated peril.

A major theme of the film is the age of Earth . This movie promotes the Evolutionary worldview that Earth is many billions of years old. This view does not hold up against a literal reading of the Bible, but I will not attempt to disseminate that here when there are already many fine articles to be found on this very foundational topic. Also, the film proposes that there is not just life on other planets but that the life found there seems to be human. Does life exist elsewhere? Again, these articles will better answer that question than I could in this brief review. Besides these problematic topics, the movie does have some other content of concern.

What does the Bible say about intelligent life on other planets ?

Are we alone in the universe ?

Does Scripture refer to life in space ?

Questions and answers about the origin of LIFE

VIOLENCE: Characters are in constant peril of attacks by frightening creatures, hazards from the environment and more. Wounds are seen, sometimes in close detail. Dead bodies are shown. A character contemplates suicide . Someone foams at the mouth and vomits in a disturbing sequence. Various creatures are shot, beaten, and burned. There are frequent jump scares. Characters are sometimes trapped with no way to escape. Children in my viewing audience cried in fear at some scenes, especially when the young girl Koa was in danger.

FILM VIOLENCE —How does viewing violence in movies affect families? Answer

LANGUAGE: There are several uses of “sh*t,” sometimes from the mouth of a child. “ Damn ” is used once.

SEXUALITY: A married couple embraces briefly. There is no nudity, and this movie is refreshingly free of any sexual references or innuendo.

OTHER: The worldview of other civilizations existing before humans were on earth is not Biblical. The concept of Earth existing for millions of years is a premise of the film.

Although I did not find “65” to be very memorable, it has a Biblically sound theme about doing whatever one can to protect those who are in danger. In this way it hit some of the same notes as “ A Quiet Place ,” an earlier work by the same writers. But where I found “A Quiet Place” to be an excellent film more about the family than the monsters, “65” seems like a vessel for just showing monstrous action with some attempt at drama added. I appreciate the effort, and I give it more value than the often crass and ridiculous latter films in the “ Jurassic World ” franchise, but it felt a little bit one-note.

The worldview concerns surrounding extraterrestrial life and millions of years of Evolution make me hesitate to recommend “65” to audiences who may be confused or misled. With these concerns as well as the constant violence and terror, it is certainly not for young children despite having a child as one of the lead characters.

  • Violence: Very Heavy
  • Vulgar/Crude language: Moderate— • S-words (3)
  • Profane language: Mild— • D*mn
  • Nudity: None
  • Drugs/Alcohol: None
  • Occult: None
  • Wokeism: None

Editor’s comment

Followers of Christ should alert about this film’s promotion of ANCIENT ALIENS or ANCIENT ASTRONAUTS theory, because this is an issue that is truly deceiving a very great number of people, partly because it is presented as scientific and archaeological (both false claims). At its base, it is a lie being used by godless people to “scientifically” explain away Biblical miracles and events—and God Himself.

This tactic started with atheist author H.P. Lovecraft. Years later, this pseudo-scientific idea was famously promoted by Erich von Däniken ( Chariots of the Gods ) and others. The Director of this film was inspired by von Däniken, and says so. This idea has particularly been used by some whose worldviews are New Age or Evolutionism/Atheism (or both).

The claim is that extraterrestrials with advanced technology came to Earth in ancient times and were mistaken for gods, angels and supernatural activity—and that out of these encounters with naive and unsophisticated humans (who misunderstood what they witnessed), humans began to worship these aliens—and the world’s religions (including Christianity) are the end result.

I have researched these claims in considerable depth, including attending von Däniken lectures. I am in agreement with many other researchers, the so-called evidence for this fantasy is filled with foolish errors and serious outright lies and deceptions.

Nonetheless, many sci-fi books, movies and TV shows have eagerly used and promoted what is essentially a dangerous Atheist-inspired worldview.

What difference does it make? When accepted, this pseudo-science leads people directly away from Biblical truth about Earth’s Creation , mankind’s place in God’s plan, Earth’s history of wicked rebellion against the Creator, and the record of His judgments . Inherent in this worldview is rejection of belief in God and the Bible. People are less likely to perceive their spiritually bankrupt state before God and are more unlikely to want—or listen to—the Gospel .

Entertainment dramas that use the ancient extraterrestrial encounters fantasy and thus promote it some extent…

  • “ Stargate ” (2001)
  • “ Prometheus ” (2012)
  • “ Knowing ” (2009)
  • “ Thor ” (2011)
  • “ The X-Files: Fight the Future ” (1998), etc.
  • “ Alien vs. Predator ” (2004)
  • Transformers: The Last Knight (2017), and most of the “Transformers” series
  • “ Outlander ” (2008)
  • “ The Fifth Element ” (1997)
  • “ Mission To Mars ” (2000)
  • “Star Trek” various episodes, including “Star Trek: The Next Generation—The Chase,” “Star Trek: The Next Generation—Who Watches the Watchers” —Gene Roddenberry, creator of “Star Trek” was an opponent of all beliefs in God
  • “2001: A Space Odyssey”—the monolith
  • “Earth: Final Conflict”
  • “Space: 1999”
  • “Quatermass and the Pit”
  • …and many more

If nothing else, the mere CONSTANT REPETITION of this view of history in entertainment media is causing it to become embedded in the minds of billions of people, making it somehow seem to them less ludicrous than it really is. Discerning Christians know that we and God have an Enemy who is the father of lies who seeks to deceive the whole world.

See list of Relevant Issues—questions-and-answers .

PLEASE share your observations and insights to be posted here.

Notice: All forms on this website are temporarily down for maintenance. You will not be able to complete a form to request information or a resource. We apologize for any inconvenience and will reactivate the forms as soon as possible.

christian movie review 65

  • DVD & Streaming
  • Action/Adventure , Drama , Sci-Fi/Fantasy , Thriller

Content Caution

65 2023 movie

In Theaters

  • March 10, 2023
  • Adam Driver as Mills; Ariana Greenblatt as Koa; Chloe Coleman as Nevine; Nika King as Alya

Home Release Date

  • April 7, 2023
  • Scott Beck; Bryan Woods

Distributor

  • Sony Pictures Releasing

Positive Elements   |   Spiritual Elements   |   Sexual & Romantic Content   |   Violent Content   |   Crude or Profane Language   |   Drug & Alcohol Content   |   Other Noteworthy Elements   | Conclusion

Movie Review

Business trips are just the worst. Just ask Mills.

The originally scheduled trip was bad enough: a two-year interplanetary journey, shuttling a bunch of cryogenically suspended passengers on an “exploratory mission.” Two years is a long time to be away, especially when you have a critically ill daughter back home. But how else is Mills going to afford his daughter’s treatment? Health care is apparently not any cheaper on Mills’ home planet of Somaris than it is here.

Yes, if everything went as planned, the job would’ve still been lacking. But you know how trips are: weather delays, unscheduled maintenance, your occasional killer asteroid storm. Mills’ ship was hit by the latter, sending it careening off course and crash-landing on some strange, green and insanely deadly world.

Half of the ship—the part that Mills is attached to—landed in a fetid swamp. The rest—including the ship’s only still-working escape pods—now sits on a big ol’ mountain, a good 10 miles away. And while 10 miles might not sound like a long way, it is when the crash pretty much sounded the dinner gong for the surrounding fauna.

Oh, and when you’re babysitting a 9-year-old girl.

That girl would be Koa, the only other survivor. And just to add to the degree of difficulty, she doesn’t speak English. (Though one wonders why Mills, coming from the planet Somaris and all, is so fluent in it.) Her parents are dead, though she doesn’t know it just yet. The planet seems to want her dead, too—which is soon made very clear.

Mills and Koa will have to cross jungles and rivers, avoid poisonous berries and insidious parasites, fight small dinosaurs, big dinosaurs and positively gargantuan dinosaurs.

And that asteroid shower? It’s heading their way, too. Y’know, just to make things interesting.

But at least Mills didn’t fly coach.

Positive Elements

When Mills realizes the predicament that he’s in, he’s ready to just give up. But when Mills learns that someone else has survived the crash, too, he does his very best to get he and the girl back home. He’s not always the most touchy-feely of protectors, but he is a ferocious one. Slowly, he begins to treat Koa a little like his own surrogate daughter.

Koa, meanwhile, proves to be perhaps even more brave than her brave protector. Understandably, she’s a little unnerved when she saves a dino cub from a perilous tar pit, only to see it devoured by predators a mere 90 seconds later. But once she understands that pretty much everything on the planet would like to eat her, Koa becomes surprisingly resourceful. She also rescues Mills a time or two—and given that she’s 9 years old, that’s pretty impressive. When my kids were 9, they didn’t even save me ice cream.

Spiritual Elements

Twenty minutes or so in, we learn that Mills and Koa have crash-landed on prehistoric Earth: The movie’s title, 65 , comes from the fact that this is Earth from 65 million years ago, and obviously evolution is implied.

Sexual & Romantic Content

Violent content.

Herbivores are about as common as accredited universities in this prehistoric world of 65 , and the bevy of meat-hungry dinosaurs must’ve been thrilled at the prospect of eating something besides each other.

They do eat each other, by the way: Raptor-like dinos swarm over a sweet-but-limping bit of immature prey (though, given the teeth on the thing, that dino likely would’ve grown up on a nice diet of meat, too, so perhaps it was a preemptive strike). Lizard-like beasts catch and kill pterodactyl-like beasts.

And all have their big, beady eyes focused on Mills and Koa—attacking them at every opportunity. One of the most disturbing critters to attack actually does its work from the inside . (We see the thing when the victim’s mouth is opened. If it was sentient, it surely would be cackling with malicious glee.)

Mills responds to most of these threats with a nifty energy blaster, which gorily blows apart the smaller dinosaurs and perforates the bigger ones. He and Koa also use tiny marble-like explosive devices to dispatch a few monsters. Koa poisons a massive fang (or horn) she finds and stabs a Tyrannosaurus-like dinosaur right in the eye socket. (It’s pretty impressive, really, that she can even lift the thing.) Mills smashes a much smaller dino repeatedly with his weapon.

But those aren’t the only dangers to beset the pair or their would-be predators. Geysers prove to be dangerous (and telltale dinosaur bones beside one indicates that they’re sometimes lethal). Tar pits can mire the unsuspecting in its gooey folds. Quicksand—a peril that I’ve not seen on screen since Gilligan’s Island —nearly kills one of our human heroes.

And, of course, one must not forget the asteroid shower, which includes a huge one that pretty much (according to many scientists) ended the age of the dinosaurs forever. Add the dino fatality count after that big event, and we’re looking at a pretty huge number.

As mentioned, Mills’ ship crashes, which claimed the lives of 30-some passengers. While they hope they were sleeping when they slipped the surly bonds of earth, we do see their dead bodies lying about in a swamp. Mills is injured in the crash, too; he yanks a piece of metal from his midsection and painfully sprays it with a coolant. (It continues to cause him periodic discomfort throughout.) He also dislocates a shoulder, and sprains an ankle, and falls from a big tree, and is bitten by a very nasty dino and nearly perishes in a crumbling cave (as does Koa). It’s surprising he wasn’t beset by killer bees (though he does gorily crush a huge insect or two).

Koa, meanwhile, was burned in the crash (an injury that Mills treats), and she’s yanked around by a dinosaur by the hair, which can’t be fun. We also hear that someone has died (back on Somaris, Mills’ home planet).

Crude or Profane Language

Mills swears on occasion: three s-words and one use of the word “d–n.” Koa is blissfully unaware of these linguistic missteps, though we English/Somarian speakers in the audience are not.

Drug & Alcohol Content

None. Not surprising, given the lack of taverns in the region.

Other Noteworthy Elements

Despite the language barrier between Mills and Koa, Mills still manages to lie to Koa—communicating to her that her parents are alive and well with the other half of the ship. Even at 9, you’d think Koa would be a little suspicious, given the state of the other half of the ship and, y’know, the dead bodies there and stuff. But perhaps children are more trusting on Somaris.

The critter that sneaks inside someone’s body causes that person to kinda vomit/froth at the mouth.

The movie 65 is not destined to go down as an all-time sci-fi classic. Despite the always-interesting presence of Adam Driver in, um, the driver’s seat, this turn-back-the-clock thriller ultimately boasts more plot holes than asteroid craters, and that’s saying something.

But while 65 has problems, it doesn’t lack heart. This quasi father-daughter story is sweet in its own way. And except for a rather surprising amount of dino-blood and guts, 65 plays it surprisingly clean.

Adam Driver’s latest sci-fi thriller is a B movie, plain and simple. But 65 does tell us that the love of a father and daughter—even if they’re not actually related—can defeat dinosaurs, asteroids and everything in between.

And that message is T-rex-eriffic.

The Plugged In Show logo

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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The Collision

65 (Christian Movie Review)

Verdict: A brisk, competent thriller that provides diverting entertainment and thrills but is never as enjoyable as a movie about Adam Driver fighting dinosaurs should be.    

About The Movie

In an era of mammoth movie lengths, endless sequels, expansive worldbuilding, and cross-media storytelling, there is something undeniably charming about a film like 65. The movie promises Adam Driver fighting dinosaurs and gives audiences precisely that, nothing less and nothing more. It’s the type of film Hollywood needs, but it probably won’t inspire more.  

With a brisk 1:30 runtime, the film doesn’t waste much time with table setting. Instead, it gets right to the meat. A brief opening scene provides a vague introduction to Adam Driver’s character and the setting. He’s a man named Mills from a distant planet who must embark on an exploratory space journey to earn enough money to buy treatment for his sick daughter. What’s her illness? What’s the objective of the expedition? How does this civilization from another planet factor into Earth’s history? The movie isn’t interested in answering these questions. By the second scene, the spacecraft is crashlanding on Earth and then…dinosaurs! Run!

christian movie review 65

I’m the target audience for this film. This type of survival thriller/creature movie lands right in my sweet spot. That the script was created by the writers of A Quiet Place , one of my favorite recent movies, added to my optimism. And while I ultimately enjoyed this film (perhaps more than most), 65 sometimes feels like the first draft of a much better movie.

The film has a lot of promising elements. Adam Driver is great because, let’s face it, Adam Driver is always great. The writers also wisely resist the temptation to add needless complexity to the simple story. The relationship between Driver’s character and a young girl named Koa (Ariana Greenblatt), the only other known survivor of the crash, is compelling, especially due to a language barrier between them. The dinosaurs are also interesting. Despite being CGI creations, they have a throwback, almost stop-motion-esque appearance that fits the B-movie vibe. All these elements are primed for a solid story, but the movie fails to make the most of them.

christian movie review 65

The main problem with 65 is that it’s just not as much fun as a movie about Adam Driver fighting dinosaurs should be. There’s action and some exciting moments, but the film never manages to maintain hold-your-breath tension. The movie should inspire audiences to better appreciate the creative genius of Steven Spielberg’s Jurassic Park . In 65 , the story is more action than thriller, and characters shooting a pack of charging dinosaurs with a high-power space-gun just isn’t as thrilling as characters being hunted by them. Rather than escalating tension and a looming threat, dinosaurs seem to appear whenever an action scene is needed.

In the end, 65 is not a bad movie; it’s just not a particularly good one. As a simple thriller about Adam Driver fighting dinosaurs, it works well. There’s high enough emotional stakes to prevent it from feeling mindless, but not too much backstory and human drama to get bogged down and overstay its welcome. Audiences expecting clever and captivating storytelling will not find much to sink their teeth into, but those with a nagging itch to see Adam Driver fight some dinosaurs should find enough in 65 for a satisfying scratch. 

  

For Consideration

Language: A handful of minor profanities (mostly “sh—”).

Violence: Human characters perish in the crash, and some blood is visible. A character receives several injuries and bloody wounds. Several creatures die, including one whose skin is melted by boiling water.     

Sexuality: None.   

Other: The opening title card establishes that the story takes place 65 million years ago “before the advent of humanity.” The premise left me curious whether the film would ultimately offer any twists that recontextualize the biblical creation account (ie. what if he gets stranded and becomes the film’s version of Adam, Earth’s first human?). But the movie doesn’t go in that direction. The fact that the planet is Earth and the “aliens” are dinosaurs is wholly irrelevant to the story.

Engage The Film

Shared humanity.

Let’s be honest. You don’t go see a movie like 65 looking for deep, philosophical themes. You watch it to see Adam Driver fight dinosaurs. Unlike many sci-fi films, 65 is not interested in probing existential questions. If there is a subtle underlying theme, it is one about shared humanity.

christian movie review 65

One of the most interesting creative decisions in the film is to introduce a language barrier between the two human characters. In a story featuring only two characters, removing their ability to verbally communicate is a bold and fascinating choice. Throughout their journey across prehistoric Earth, they must learn to communicate in other ways. In the process, they discover that they have more in common than they first thought. Both have experienced grief and long for family. Koa, the young girl, is captivated by recorded videos of Mills’ daughter and feels a clear connection, despite being strangers. As a father to a daughter, Mills understands Koa.

Immediately following the crash, Mills despairs. He is reluctant even to send a distress call, and he is on the brink of committing suicide. It is only after discovering Koa that he regains a sense of purpose and a will to survive. It may not be a particularly deep theme, but it is a wholesome message that people have a shared humanity that is worth fighting for.

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Daniel holds a PhD in "Christianity and the Arts" from The Southern Baptist Theological Seminary. He is the author/co-author of multiple books and he speaks in churches and schools across the country on the topics of Christian worldview, apologetics, creative writing, and the Arts.

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christian movie review 65

Movie Review: ’65’

christian movie review 65

NEW YORK (OSV News) – Feeling nostalgic for the Mesozoic Era? You won’t be after seeing the sci-fi adventure “65” (Sony).

The film’s title refers to the millions of years into the past to which co-writers and directors Scott Beck and Bryan Woods transport their audience. Not exactly a frolicsome time as far as Mother Nature was concerned.

So, the protagonist, a humanoid alien named Mills (Adam Driver), discovers after the spaceship he pilots is wrecked by meteors and he’s forced to crash land on an unknown planet that turns out to be Earth. Humanoid is a rather loose term here since Mills is, in every respect, just a person who happens to be from outer space.

The same can be said of the only other survivor of the disaster, a young passenger called Koa (Ariana Greenblatt). She reminds Mills of Nevine (Chloe Coleman), the ailing daughter he left at home when he embarked on his mission. Thus he’s naturally disposed to protect and care for the lass.

To save themselves, the duo must trek to a rescue vehicle that detached from the main vessel and now lies atop a nearby mountain. Along the way, they’ll have to dodge an array of predatory creatures, including dinosaurs large and small. What follows is a vivid demonstration of the fact that – the adventures of Fred Flintstone notwithstanding – people and dinos don’t mix.

Mills’ determination to safeguard his accidental protege is admirable. And the bond that develops between the two is enjoyable to observe. Yet, what with the mud, the outsized bugs and the rapacious raptors hovering in the skies, the arduous journey on screen becomes a toilsome slog for viewers as well.

On the upside, Beck and Woods include few objectionable ingredients in their script. So “65” is probably acceptable for older teens. Still, the best advice for moviegoers young or grown is likely “Yabba dabba don’t.”

The film contains images of a gory wound, potentially upsetting plot developments, at least one mild oath and about a half-dozen crude terms. The OSV News classification is A-III — adults. The Motion Picture Association rating is PG-13 – parents strongly cautioned. Some material may be inappropriate for children under 13.

John Mulderig is media reviewer for OSV News. Follow him on Twitter @JohnMulderig1.

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The Post-Christian Morality of ‘Wicked’

More by brett mccracken.

christian movie review 65

One of the most noteworthy theological trends in 21st-century pop culture has been the rehabilitation of the “villain.” From Cruella to Maleficent to the Joker and more, iconic villains are now routinely given spinoff movies and sympathetic backstories that complicate our categories of good and evil. This has dovetailed with the rise of the “ trauma plot ” and a narrative fixation on how destructive choices (let’s just call it “sin”) can be explained by past trauma.

Part of why Hollywood has gravitated toward this narrative is simply that it makes good (and financially lucrative) drama. Giving villains origin stories is intriguing. But I think this trend’s rise is also connected to the post-Christian culture’s confusion about sin and evil, morality and justice. In this world, the theological word “sin” has been replaced by the psychological word “brokenness,” and transcendent concepts of justice have been replaced by oppressor-oppressed power dynamics.

All this is on full display in Wicked (out today in theaters), the Jon M. Chu–directed movie about the Wicked Witch of the West’s origin story. The Wicked franchise (first a book , then a popular Stephen Schwartz Broadway musical , and now a two-part cinematic saga ) is perhaps the clearest example yet that contemporary pop culture struggles with the category of evil. The title alone playfully probes the concept, redefining it as a word of empowerment (think “Wicked awesome!” as Bostonians might say).

Rather than being the iconically despicable, nightmare-inducing character immortalized by Margaret Hamilton in 1939’s The Wizard of Oz , the Wicked Witch of the West is reconsidered in Wicked as a good-natured, well-intentioned outcast named Elphaba who has been seriously misunderstood.

‘Why Does Wickedness Happen?’

Why does wickedness happen? This question opens the film, posed by a munchkin in Munchkinland to Glinda the Good Witch (Ariana Grande) following news that ends the original Oz film: the Wicked Witch of the West is dead. Glinda answers the question by narrating the life of her frenemy, Elphaba (Cynthia Erivo), from her birth in a broken home to a childhood marked by bullying to adult years when she and Glinda attended Shiz University—an institution reminiscent of Hogwarts for would-be witches to learn magic.

Much of Wicked (part 1, with part 2 set to release a year from now) follows the relational development between Glinda and Elphaba as roommate rivals-turned-friends at Shiz U. Their odd-couple dynamic is fun to watch; much of Wicked ’s pleasures come from the way Elphaba and Glinda complement and learn from each other. There are genuinely moving scenes of them caring for one another against all odds (the Ozdust Ballroom scene stands out).

Wicked is perhaps the clearest example yet that contemporary pop culture struggles with the category of evil.

Grande is perfectly cast as Glinda, who reminds me a lot of Reese Witherspoon’s iconic character in Election , Tracy Flick: a popular, ambitious, but slightly annoying queen bee. “I’ve decided to make you my project,” Glinda informs Elphaba, exuding the sort of condescending liberal guilt of a privileged “do-gooder” whose altruism is largely about virtue signaling. She represents privilege, power, and Karen-esque entitlement ; even her gestures of allyship and solidarity feel opportunistic.

Meanwhile, Elphaba is a marginalized icon of intersectionality: born with green skin, the daughter of an unknown father, ostracized in childhood, prone to quirky dance moves. It’s no doubt intentional that Elphaba is played in the film by a queer black woman (Erivo). Her character doesn’t neatly fit mainstream society’s binaries and norms. And as the story progresses, she becomes a freedom fighter for the oppressed, a “villain” only insofar as those in power mischaracterize her cause.

Wickedness in ‘Wicked’: Oppressive Power Structures

If Wicked finds wickedness anywhere, it’s not in Elphaba. Rather, it’s in Oz’s privileged power structures—namely the Wizard of Oz (Jeff Goldblum), Madame Morrible (Michelle Yeoh), and others who gain power by using and abusing the less fortunate. It’s interesting that the Wizard is a God-proxy in the film’s world (characters exclaim things like “Thank Oz!” and “What in the name of Oz?”). This “deity” turns out to be a manipulative, self-serving, untrustworthy villain; religious mythology is exposed as a convenient means of perpetuating human power.

One subplot basically equates Oz’s elites with Nazi fascists. The talking animals—previously valued members of society—are now an oppressed group “othered” in ugly ways, blamed for everything (“scapegoat,” literally), silenced, and even locked up. “Animals should be seen and not heard” is the mantra of the fascist regime.

Elphaba emerges as the voice of resistance to this oppressive prejudice. “No one should be scorned or laughed at or looked down upon, or told to keep quiet,” she says, animated by her painful childhood trauma (we see a scene of her being bullied by a gang of white kids). But she’s also motivated by real compassion for others who are marginalized—chiefly her paraplegic sister (Marissa Bode) and the goat professor, Doctor Dillamond (Peter Dinklage).

If Elphaba has a flaw in Wicked , it’s that she cares too much . Unlike many in the film who live decadent, thoughtless lives (“ dancing through life ” rather than “studying strife”), Elphaba can’t turn a blind eye to injustice. Her “wickedness” emerges out of an earnest passion that begins to consume her. Her character is emblematic of the hyperserious, humorless stereotype of the “woke.” How can one smile and make jokes when the world is so cruel and unjust?

Indeed, vice in the world of Wicked isn’t just embodied by powerful people who actively oppress; it’s also evident in those who don’t care enough that this is happening—the privileged who can eat, drink, and merrily dance while nefarious forces ruin the world. Silence is violence. In Wicked ’s view of sin and culpability, some individuals are actually heinous and Hitler-esque; but entire classes of people are culpable for their willful ignorance; guilty on account of their naive, comfort-prioritizing “complicity” in an evil system.

‘Defying Gravity’: Anthem of Moral Autonomy

Elphaba’s framing as Wicked ’s heroic protagonist has a lot to do with her advocacy for others. But it also has to do with her resolute belief in herself and a bold rejection of imposed expectations and limits. This too reflects our post-Christian culture’s reframing of virtue and vice. To be radically autonomous, fiercely whoever you want to be: this is a high virtue. To conform to external norms and submit to authority outside yourself: this is the “vice” of weakness and uncritical complicity.

Wicked ends where act 1 of the musical ends, with Elphaba picking up her iconic broomstick, learning to fly, and fleeing Oz as an exiled villain. She and Glinda sing “ Defying Gravity, ” Wicked ’s trademark empowerment anthem. It’s a thesis statement of sorts for the film’s remaking of Elphaba as a post-Christian messianic hero more than a depraved villain.

‘Defying Gravity’ is a thesis statement of sorts for the film’s remaking of Elphaba as a post-Christian messianic hero more than a depraved villain.

Elphaba defies gravity literally but also philosophically, rejecting higher authorities and moral norms: I’m through with playing by the rules of someone else’s game . . . / I’m through accepting limits / ’Cause someone says they’re so . She asserts her “woken up” virtue ( Too late to go back to sleep ), moral autonomy ( It’s time to trust my instincts ) and “born this way” self-acceptance ( Some things I cannot change ).

It’s not surprising “Defying Gravity” has become a favorite anthem of the LGBT+ community , often performed at Pride events . The song (and Wicked generally) has a campy ambiance of naughtiness and shameless transgression. But it also narrates the choice many LGBT+ people make to sever relationships and separate from “nonaffirming” communities (including families) so they can live in freedom, on their own terms: As someone told me lately / “Everyone deserves the chance to fly” / And if I’m flying solo / At least I’m flying free .

There’s a sadness to Elphaba’s choice to “fly solo” and embrace her exile, justified by her “no one can bring me down” freedom: To those who’d ground me / Take a message back from me / Tell them how I am defying gravity .

Glinda recognizes the sadness of it but doesn’t necessarily think Elphaba is making the wrong choice. She sings, I hope you’re happy / Now that you’re choosing this / I hope it brings you bliss . Glinda’s way of loving Elphaba is, in the end, to affirm her choice—however destructive it may be for her and others. Indeed, “I hope it makes you happy” has become the grid of moral evaluation in a post-Christian world. You do you . Be yourself . Follow your heart . As long as you’re happy.

Gravity Can’t Be Defied Without Consequences

But gravity is an inescapable law of the universe. It can’t be defied without consequences. Universal laws and limits exist, no matter how forcefully we sing, “Unlimited!” God’s creation has a “grain,” and going against the grain always leaves you with splinters .

‘I hope it makes you happy’ has become the grid of moral evaluation in a post-Christian world.

This is the real tragedy of Wicked . It’s a well-intentioned story driven by an earnest exploration of right and wrong. The residue of Christianity informs its moral intuitions (e.g., the inherent dignity of all people, advocacy for the weak), and we can celebrate that Wicked wants us to think and talk about morality rather than simply “dancing through life.”

But even if the story helpfully praises the costly pursuit of justice and fighting for the marginalized, in the end its rejection of moral absolutes leaves audiences without real hope or clarity. In a “trust my instincts” world where subjective authority reigns, questions of what’s just and unjust, good and evil, are ultimately unanswerable. Heroes and villains are constructs; “wicked” is merely an arbitrary label imposed by one group over another as propaganda to consolidate power.

We can praise elements of Wicked as a well-told story and creatively rendered world. The songs and costumes are fun. The vibes are pleasant. But the moral ideas—however well intentioned—are ultimately incoherent and unhelpful.

Involved in Women’s Ministry? Add This to Your Discipleship Tool Kit.

christian movie review 65

Whether you’re longing to find a spiritual mentor or hoping to serve as a guide for someone else, we have a FREE resource to encourage and equip you. In Growing Together: Taking Mentoring Beyond Small Talk and Prayer Requests , Melissa Kruger, TGC’s vice president of discipleship programming, offers encouraging lessons to guide conversations that promote spiritual growth in both the mentee and mentor.

Brett McCracken is a senior editor and director of communications at The Gospel Coalition. He is the author of The Wisdom Pyramid: Feeding Your Soul in a Post-Truth World , Uncomfortable: The Awkward and Essential Challenge of Christian Community , Gray Matters: Navigating the Space Between Legalism and Liberty , and Hipster Christianity: When Church and Cool Collide . Brett and his wife, Kira, live in Santa Ana, California, with their three children. They belong to Southlands Santa Ana . You can follow him on X or Instagram .

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COMMENTS

  1. 65 (2023)

    MOVIE REVIEW. 65 also known as "65 - Ameaça Pré-Histórica," "65 - La terre d'avant," "65: ... As a Christian—you have work thru the premise of the movie (do not wish to give away too much) but it does NOT match up with a Biblical view of creation. A believer would have to balance the desire to watch the movie knowing it is ...

  2. 65

    The movie 65 is not destined to go down as an all-time sci-fi classic. Despite the always-interesting presence of Adam Driver in, um, the driver's seat, this turn-back-the-clock thriller ultimately boasts more plot holes than asteroid craters, and that's saying something. But while 65 has problems, it doesn't lack heart. This quasi father ...

  3. 65 (Christian Movie Review)

    65 (Christian Movie Review) Review by Daniel Blackaby March 10, 2023. ... You don't go see a movie like 65 looking for deep, philosophical themes. You watch it to see Adam Driver fight dinosaurs. Unlike many sci-fi films, 65 is not interested in probing existential questions. If there is a subtle underlying theme, it is one about shared humanity.

  4. Movie Reviews for Families

    Strong pagan worldview in the movie where there is a non-traditional belief system present, and anything goes, there is no mention of God, Christian values or the Bible, people can do whatever they want and live however they want, with light moral, redemptive content extolling love, compassion and sacrifice as the hero fights carnivorous dinosaurs and risks his life to keep himself and a 9 ...

  5. Movie Review: '65'

    Adam Driver stars in a scene from the movie "65." The OSV News classification is A-III -- adults. The Motion Picture Association rating is PG-13 -- parents strongly cautioned. Some material may be inappropriate for children under 13. (OSV News photo/Patti Perret, courtesy Sony) Movie Review: '65' March 16, 2023 By John Mulderig

  6. 65 —Christian Movie Review

    Check out our written review here: https://thecollision.org/65-christian-movie-review/TIMESTAMPS:0:00 Intro1:29 About The Film7:33 Content to Consider9:58 Th...

  7. The Christian Rationalist: Movie Review--65

    The Christian Rationalist Discover the joys and terrors of exploring reality through reason. Monday, March 11, 2024. Movie Review--65 "We've crash-landed on an uncharted celestial body."--Mills, 65. 65 ...

  8. Movieguide

    Marred by some questionable content, including wacky environmentalist ideas equating animals with humans, and some spotty pacing, 102 DALMATIANS contains, however, a rousing slapstick finish and a mild Christian worldview with moral elements.

  9. The Post-Christian Morality of 'Wicked'

    All this is on full display in Wicked (out today in theaters), the Jon M. Chu-directed movie about the Wicked Witch of the West's origin story. The Wicked franchise (first a book, then a popular Stephen Schwartz Broadway musical, and now a two-part cinematic saga) is perhaps the clearest example yet that contemporary pop culture struggles with the category of evil.

  10. Christian Parent Movie Reviews

    Limitations and Potential concerns to know about: Like we see with most review sites, we feel far too much time and real estate on the site is spent on detailing out what the movie is about (i.e., the plot). We realize many will disagree with that statement, which may be fair, but what this site does make clear is that this detailed plot content very often distracts from the much more ...