2006-2008 LSH animated television series, S1.E3 & E4

Today’s the 15th of the month, so it’s time once again for some 31st century frivolity as we join the Legion of Super Heroes in two more animated adventures.

Legion of Super Heroes (animated television series, 2006-2008)
Warner Bros. Animation – D.C. Comics

S1.E3 – “Legacy,” directed by Tim Maltby and written by Scott Sonneborn, October 7, 2006

Above: Alexis and Superman in a scene from “Legacy.”

Plot: Superman rescues Alexis from an accident. She just so happens to be the richest girl in the galaxy and predictably a spoiled brat who is used to getting what she wants. She sets out to ensnare Superman as her trophy boyfriend. Meanwhile, an army of technology pirates, the dreaded Scavengers, begins raiding Metropolis, and a contingent of Legionnaires, including Brainiac 5, Lightning Lad, Phantom Girl, and Saturn Girl, scrambles to oppose them. Superman is caught between his demanding new girlfriend and helping his teammates. Not one to be stood up, Alexis allies with the Scavengers. In a fierce battle at Legion HQ, the Scavengers and Alexis are defeated and she is sent to the prison planetoid, Takron-Galtos, where she vows to someday exact her revenge.

Comments: Ach. This was a below-mediocre story that patronized its audience. Looking ahead, I see Sonneborn writes one more additional episode. Let’s hope it’s better than this one.

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S1.E4 – “Phantoms,” directed by Tim Maltby and written by Rob Hoegee, November 4, 2006

Above: Brainiac 5 and Drax battle in a scene from “Phantoms”

Plot: Superman visits the Superman Museum in Metropolis and inadvertently releases an evil being, Drax, from the Phantom Zone. Drax is the son of two Kryptonian criminals and has the same powers as Superman. With his alien “pet” creatures, he wreaks havoc throughout the city until he is engaged by the Legionnaires – Superman, Brainiac 5, Lightning Lad, Phantom Girl, Saturn Girl, and Timber Wolf. A vanquished Dax is saved by his super powerful pets. At a later time, the pets create a diversion while Dax confronts Brainiac 5 at Legion HQ, demanding a projector that will release the other evil beings from the Phantom Zone. First Superman, then the other Legionnaires arrive and attempt to restrain Dax. A tussle for the projector results in Brainiac 5, Lightning Lad, Phantom Girl, Saturn Girl, and Timber Wolf being transported into the Phantom Zone. In a race against time, Brainy creates a portal of escape. Superman seizes the opportunity by simultaneously hurling Dax back into the Phantom Zone.

Comments: This was a fun episode. Fans of the 1978 Superman movie will recall that Kryptonian criminals, General Zod, Ursa, and Non, were consigned to the Phantom Zone. Legion fans know that in Superboy #89 (June 1961), Superboy placed Mon-El in the zone to save him from lead poisoning. Brainiac 5 subsequently created a long-term antidote to lead poisoning based on Saturn Girl’s serum XY-4 and Mon-El was permanently freed from the Phantom Zone in Adventure Comics #305 (February, 1963).

The writers have focused on a core group of Legionnaires to this point. It’s time to begin introducing more members from the large LSH roster.

As to why I periodically publish posts on “secular” topics, see my explanatory post here.

Beginning next month: Reviews of 2006-2008 LSH animated television series

In the past, my frivolous Legion of Super-Heroes comic book reviews covering multiple LSH comics series published back in the 2010-2013 timeframe, were sometimes intermittent, so going forward I resolved to publish them on or around the first of every month. Well, after watching the Legion of Super-Heroes 2023 Warner Bros./DC animation flick several weeks ago (see here), I also got the itch to go back and peruse the LSH WB/DC animation television series that ran from 2006 to 2008 on the CW cable network and is available in its two-season entirety on Blu-ray DVD. I hadn’t watched any of the twenty-six episodes when they originally aired. I’m thinking I’ll post reviews of the TV series episodes on or around the fifteenth of every month, doubling-up with two short reviews per monthly post.

See you back here around April 15th with the Legion of Super Heroes (no dash in this version) animated television series, S.1, E1&E2 and see you in around two weeks with the next LSH comics review.

Throwback Thursday: Colbert and Heaton debate who is more Catholic

Welcome to this week’s “Throwback Thursday” installment. Today, we’re going to revisit a post that was originally published back on October 3, 2016 and has been revised.

Stephen Colbert, host of The Late Show on CBS, and actress, Patricia Heaton (Everybody Loves Raymond, The Middle), are two of the rare Hollywood Catholic celebrities who are outspoken about their religion (Mark Wahlberg being another).

In the 7-minute video above, Heaton appears as a guest on The Late Show and she and Colbert have a “throwdown” about who is more Catholic. The discussion includes the preponderance of large Catholic families back in the day, relatives who entered religious orders, the superstitious practice of burying a saint Joseph statue upside down in the yard to expedite the sale of a house, and the definitions of “monstrance” and “scapular.”

In the middle of the friendly joust, Heaton challenges Colbert to name the number of places Mary has purportedly appeared since her death. She mentions that nine appearances have been sanctioned by the RCC* and asks Colbert to name them. Colbert confidently retorts that Mary never died, but was assumed into Heaven. What? Not so fast, Colbert! Actually, the Roman Catholic church has never officially defined whether Mary had died or was still alive immediately prior to her alleged assumption. Colbert then begins counting off some of the more well-known alleged Marian appearances: Lourdes, Fatima, Medjugorje… Whoops! Medjugorje? Really? Heaton accepts Medjugorje as a correct answer, but the Catholic church has NOT officially sanctioned the alleged Marian appearances there. At this point it’s clear that Heaton and Colbert aren’t quite the devout and knowledgeable Catholics they advertise themselves to be. Note also the ribald, double-entendre “humor.” That’s part and parcel for Roman Catholics.

The good-natured sparring between Colbert and Heaton reminded me of my many years in Catholicism. For a Catholic, it’s all about the church, the institution, the system, the structure. In Catholicism, Jesus Christ takes a back seat to the clergy, ceremony, ritual, the hierarchy, the rubrics, traditions, the organization, and Mary. In seven minutes, these two devout Catholics never once mention Jesus Christ. Not once. It’s all about the church. That’s exactly the way it is in Roman Catholicism. Faith is in the institution, not in the Savior, Jesus Christ.

*Actually, only six alleged Marian apparitions can be categorized as “Approved, with widespread liturgical veneration endorsed by the Holy See.” Twenty-five other supposed apparitions have received some degree of ecclesiastical endorsement (see here).

Midnight Mass – Netflix miniseries review

Midnight Mass – TV Miniseries (seven episodes)
Created and directed by Mike Flanagan
Featuring: Kate Siegel, Zack Gilford, Hamish Linklater, and Samantha Sloyan
Intrepid Pictures, released on Netflix, September 24, 2021

While searching for articles for a weekend news roundup a short time ago, I came across a couple of reviews for “Midnight Mass,” a new “Catholic horror” mini-series on Netflix. I’m not much of a television watcher, but Catholic horror films (“The Exorcist” and “The Omen”) played a part in my conversion to Christ, so I mentioned the series to my wife and we watched it together.

Plot (spoiler alert!)

A young man, Riley Flynn (Gilford), is released from prison for a drunk driving homicide. He returns to Crockett Island to try to piece his life back together. Concurrently, a new Catholic priest, “father” Paul (Linklater), arrives on the island and strange miracles begin to occur in connection with the “services” at St. Patrick’s Catholic church. A “religious revival” breaks out on the island as the inhabitants are drawn to the charismatic priest and the miraculous events. The stern parish assistant, Bev Keane (Sloyan), is especially captivated by the priest. We learn that “father” Paul is actually his predecessor at St. Patrick’s, Monsignor Pruitt, an aging priest who had onset dementia. Pruitt had taken a trip to the “Holy Land” and stumbled into the cave lair of a blood-thirsty demon. The demon’s blood transforms the aging priest into his younger self and Pruitt returned to the island incognito as “father” Paul. Priest Paul had been slipping the demon’s blood into the congregants’ communion wine, accounting for the transformational “miracles.”

Priest Paul dies (via poison from Bev Keane?) and is resurrected to become a full-fledged, blood-sucking vampire. One of his first “indoctrinees” is the trusting Riley, who then informs his girlfriend, Erin (Siegel), of what’s really going down on the island before he self-immolates via the sun’s rays at dawn. The sunshine-shy priest holds a midnight mass at the church and invites the credulous congregants to also drink the “Kool-Aid” poison so that they too can be reborn to great spiritual heights (as bloodsuckers) and together bring their bloody “gospel” to the mainland. Erin and a few other incredulous inhabitants escape the mayhem and begin burning all of the boats and buildings on the island so that the neo-vampires can’t escape and will be immolated by the rays of the rising sun at dawn. The vampires hunt the rebels down and priest Paul’s anti-vampire “love-child” is killed in the fracas, giving him second thoughts, much to the angry consternation of “true-believer,” Bev Keane. At dawn, the sun’s rays destroy the “repentant” priest and all of the other defenseless vampires.

Comments

One article writer opined that Midnight Mass is ex-Catholic, Mike Flanagan’s commentary on “the dark role religion can play in the lives of people.” Pseudo-Christian Roman Catholicism is conspicuously creepy with its rites, rituals, ceremonies, and its bloody history. It’s a counterfeit of true Christianity and the genuine Gospel of salvation by God’s grace alone, through faith alone, in Jesus Christ alone. Flanagan takes many pot-shots at Roman Catholicism in this series and I’m not entirely unsympathetic, but the former altar boy is far from irreligious. As Erin lays dying after being attacked/bitten by the demon, and before the impending sunrise, she rattles off a five-minute New Age soapbox soliloquy that would do Oprah and Deepak proud. She makes her dying case for no Heaven and no Hell, and philosophizes that everyone is a part of the eternal cosmos, etc., etc., etc. Hmm, that New Age fluff doesn’t exactly mesh with a demon terrorizing souls for seven one-hour-long episodes.

The performances by the principals were very good. It’s eerie watching Linklater rationalizing his evil schemes in the name of God, quite evocative of actual Roman Catholic church history. Samantha Sloyan is excellent as Bev Keane, the self-righteous “church lady” who is evil personified. I have run across more than a few über-sanctimonious Bev Keanes in my Christian journey.

This was an entertaining horror frolic with many insightful “jabs” at Roman Catholicism, but get your theology from God’s Word, the Bible, rather than from Mike Flanagan. Some believers would object to watching a horror film like “Midnight Mass.” I get it, but in my case the Holy Spirit used religious-themed horror films, among other things, to lead me to Christ. I observe that some Christians object to watching fictional demons in a silly horror movie (understandable, I don’t make it a habit, either), but will enthusiastically endorse ecumenism with false teachers (e.g., the pope and Roman Catholic prelates and priests) with their false gospels.

Trivia: “Midnight Mass” was filmed at uninhabited Garry Point Park peninsula near Vancouver, Canada. All of the buildings seen in the series were built by the production crew. Playing Riley Flynn’s father is Henry Thomas. Remember him? The now-forty-nine-year-old Thomas played Elliot in “E.T.: The Extra-Terrestrial” way back in 1982.

From left to right: Kate Siegel as Erin Greene, Hamish Linklater as priest Paul, and Samantha Sloyan as Bev Keane

Postscript: I used to love going to Christmas Eve midnight mass as a young child, mainly because of the novelty of staying up so late and also knowing Christmas morning mass wouldn’t be interfering with the opening of presents. I also enjoyed the grand pageantry. When I was in my mid-twenties I read the New Testament for the first time and learned that sacerdotal priests and sacrifice for sin had been ended by Jesus Christ. Both priests and sacrifice for sin are anti-Biblical blasphemy and affronts to Jesus Christ.

In Their Own Words: Pope Francis

In Their Own Words: Pope Francis
Directed by Marianne Kushmaniuk
PBS, first broadcast July 20th, 2021, 53 minutes

I saw this documentary mentioned in an internet article and streamed it a couple of days after its broadcast premier.

This particular PBS “In Their Own Words” series installment follows the life of Jorge Bergoglio from his childhood in Argentina to his election and current tenure as pope Francis. Bergoglio is presented as a progressive reformer leading multiple crusades on behalf of the poor, refugees, homosexuals, women, and the environment. Those interviewed include Anne Thompson (NBC News correspondent), Austen Ivereigh (Bergoglio biographer), and Mario J. Paredes (Director, American Bible Society). It’s a bit strange that Francis himself isn’t interviewed in a series titled “In Their Own Words.” Instead, quotes from Bergoglio are frequently plastered on the screen as if scriptural.

This is more of a propaganda piece than a documentary. I could not imagine a biographical documentary being more flattering than “In Their Own Words: Pope Francis.” It defines the term, “puff piece.” In summing up Francis’ papacy, reporter Anne Thompson gushingly proclaims, “He has brought the Catholic church to the basic message of Jesus.” The only Francis misstep that’s mentioned is the pope’s clumsy 2018 mishandling of clerical sexual abuse cover-up by bishop Juan Barros Madrid of Colombia. There is hardly any acknowledgement of the significant opposition to Francis and his reforms by conservative and traditionalist Catholic clerics and laity. Neither Francis or his conservative Catholic foes teach the genuine Gospel of salvation by God’s grace alone, through faith alone, in Jesus Christ alone.

Francis has strategically and pragmatically “elevated” the papacy from that of conservator of Roman Catholic doctrine and tradition to crusader for every politically-progressive cause imaginable. In response, the world loves Bergoglio. If a catastrophe were to overtake the planet, people would turn en masse to the pope for solace and guidance. That’s significant, folks, and it didn’t just happen by chance.

If you must, you can catch this puff piece at PBS’s website until August 17 (see here). I recommend you use those 53 minutes for something more productive.

Throwback Thursday: Creepy “Damien” TV series cancelled, but false “servants of righteousness” continue

Welcome to this week’s “Throwback Thursday” installment. Today, we’re going to revisit a post that was originally published back on May 31, 2016 and has been revised. Wow! Has it really been five years since “Damien” was broadcast?

As I’ve mentioned previously, my wife and I were big fans of the movie, “The Omen,” when it was released in 1976 (see here). I remember how we rushed home from the theater and opened up my wife’s deceased father’s Bible, the first time either one of us read from God’s Word (after a combined 24 years in Catholic schools), to find the passage in Revelation 13 that referenced 666, the “mark of the beast.” The Lord used many other things and people in our lives to eventually lead us to trust in Jesus Christ as our Savior by faith alone in 1983.

This past March 7th, the A&E cable television network premiered the series, “Damien,” which was based on the 1976 film. There were 10 episodes with the last one airing on May 9th. The plot line began with Damien as a 30-year-old war photographer who begins to encounter unusual people and troubling circumstances in his life. Shortly thereafter, it’s revealed to him that he’s the anti-christ. Over the course of the remaining episodes, Damien struggles against his inevitable “fate.” The Vatican is made aware that the anti-christ has been revealed and sends a solitary nun on a mission to murder him. She’s unsuccessful (natch), so the Vatican sends a SWAT team of priests, replete with silver daggers in aluminum military attache cases (LOL, simply hilarious), to America to stop Satan’s spawn. Before the Vatican forces can arrive, Damien accepts his destiny and pledges his allegiance to Beelzebub.

This past weekend, news sources reported “Damien” will not be picked up for a second season by the network because of low ratings.

Many Christians would think twice about watching such entertainment as “Damien,” but “The Omen” was part of our journey to Christ. We were also able to use “Damien” as an opportunity to speak several times to our unsaved sons about Jesus and the Gospel. They’re also fans of the original movie.

You can always count on Hollywood to get it wrong when it comes to spiritual issues and many of the usual trite stereotypes were used in “Damien.” Satan and his minions are presented as utterly repulsive figures that only the mentally deranged could possibly be attracted to. The Hollywood stereotype of demons as dreadful beings who oftentimes sport horns, goatees, tails, pointed ears, and goat-like hind legs is utterly preposterous. God’s Word says Satan masquerades as an “angel of light” and his servants masquerade as “apostles of Christ” and “servants of righteousness.”

I dare say that the Hollywood cliches (based on popular religious folklore) may possibly be ruses hatched by Satan himself. It’s not hideous monsters that we need to be on guard against, rather it’s those seemingly goodly people and their religious institutions who have twisted the Gospel of Jesus Christ from salvation by God’s grace alone, through faith alone, in Jesus Christ alone into salvation by works (i.e., sacraments, being good, baptism, religious piety and emotionalism, etc.).

In “Damien,” it’s the Vatican and the Catholic clergy that are presented as the “good guys,” but, ironically, it’s the Vatican that has twisted God’s Word by teaching salvation by sacramental grace and merit. People fear ridiculous red trolls created in Hollywood studios, but it’s those upstanding and highly respected members of our communities who masquerade as ministers of righteousness, but teach a false gospel of works who are leading people to Hell. Instead of warning their flocks against such people and institutions, some evangelical ministers openly embrace them.

There are evangelicals who would strongly caution others not to watch silly nonsense like “Damien,” but would determinedly jostle in line for a photo op with the pope. Does not compute.

“For such people are false apostles, deceitful workers, masquerading as apostles of Christ. And no wonder, for Satan himself masquerades as an angel of light. It is not surprising, then, if his servants also masquerade as servants of righteousness. Their end will be what their actions deserve.” – 2 Corinthians 11:13-15

Kazan Redux: Elia Kazan’s Thirteenth Film: “A Face in the Crowd”

Today, as part of our “Kazan Redux” series, we’re going to re-review director Elia Kazan’s thirteenth film, “A Face in the Crowd.” The review below was first posted on June 6, 2017 and has been slightly revised.

A Face in the Crowd
Directed by Elia Kazan and featuring Andy Griffith, Patricia Neal, Walter Matthau, Anthony Franciosa, and Lee Remick
Warner Brothers, 1957, 125 minutes

Director Elia Kazan and writer Bud Schulberg had had a huge success with “On the Waterfront” in 1954 and teamed up one more time for this quirky and amazingly prescient movie.

Plot

A radio show producer, Marcia Jeffries (Patricia Neal), discovers a talented drifter, Larry Rhodes (Andy Griffith), in a small-town, Arkansas jail, and presents him with the moniker, “Lonesome.” Rhodes is given a slot on a local radio station and his folksy, irreverent humor is so popular he’s soon invited to host a Memphis television program. Although Rhodes infuriates the show’s sponsor, his audience loves him. A wheeler-dealer office gopher, Joey DePalma (Tony Franciosa), sets himself up as an agent and brokers a deal on behalf of Rhodes for a nationally televised show broadcast from New York City. Predictably, Rhodes’ soaring popularity and influence goes to his head. He’s rude to his staff and dumps fiancé Marcia for a 17-year-old baton twirler, Betty Lou Fleckum, (Lee Remick). Rhodes’ politically-conservative sponsor soon has him playing kingmaker by having him stump for right-wing U.S. Senator, Worthington Fuller, for President. Staff writer, Mel Miller (Walter Matthau), attempts to turn Marcia against Rhodes, but she’s already souring on her discovery. When Rhodes candidly berates his viewership during the closing credits of his show, Marcia, unbeknownst to him, manipulates the sound board, purposely broadcasting his insults over the airwaves. His audience and sponsors abandon Rhodes overnight. When no one shows up at his gathering for conservative politicians and corporate big wigs, Rhodes calls Marcia threatening suicide. She goes to Rhodes’ penthouse to reveal she was the one who betrayed him. The movie ends with Rhodes screaming for Marica to come back as she rides away in a taxi cab.

Comments

Andy Griffith is an absolute hoot in his film debut. Few people saw this, his finest performance, but Griffith would find his audience three years later on “The Andy Griffith Show” (1960-1968) on television, playing a character quite unlike Lonesome Rhodes. Patricia Neal gives a great performance. The film did poor box office, which is understandable given the protagonist is an unlovable monster. There’s no doubt the movie was ahead of its time as Bud Schulberg’s script eerily foretold the role of television in politics. Sources reveal the character of Rhodes was inspired in part by homespun heroes, Arthur Godfrey and Will Rogers.

“A Face in the Crowd” has some wonderful scenes and some great performances, but it’s not quite a five-star movie. Schulberg and Kazan over-reached the mark with this undisguised left-wing, preachy, soapbox. One gets the feeling that with “A Face in the Crowd,” Schulberg and Kazan were saying, “Sure, we may have named names before HUAC, but see, we’re still good liberals!”

Ted Turner’s Turner Movie Classics (TMC) cable channel aired “A Face in the Crowd” repeatedly during the 2016 presidential primaries and campaign. Evidently, the folks at TMC felt there were more than a few parallels between Lonesome Rhodes and candidate Donald Trump’s blustering brand of populism.

In 2019, Criterion released “A Face in the Crowd” on Blu-ray as part of its collection of distinguished films (joining Kazan’s “On the Waterfront”). Regrettably, a commentary from a film critic/historian was not included.

Trivia alert: Kazan filmed the opening scenes of “A Face in the Crowd” in Piggott, Arkansas. As in most of Kazan’s later films, many non-actor locals were used in small parts and as extras. The house with the swimming pool was the home of businessman, Karl Pfeiffer, who often entertained his sister and her husband, Ernest Hemingway, poolside.

Additional thoughts from a believer

With “A Face in a Crowd” Kazan and Schulberg warn of the burgeoning influence of television and right-wing manipulation via media demagogues. Sixty-four-years later, we’ve witnessed both ends of the political spectrum attempting to sway public opinion through the medium, but the reality is that the Left has actually become much more adroit at media manipulation than the Right.

So, then, what is our bottom line? Marxist and atheist Kazan saw society in terms of a battle between Left and Right, in which the Right had to be defeated in order for society to advance. But are political solutions the answer to man’s overarching problems? Is either the Right or the Left capable of ushering in a “Great Society” of peace and prosperity for all?

As believers, our hope is in our Savior and Lord, Jesus Christ, and we anticipate His coming Kingdom. The political ebbs and flows of this fallen world may affect us to varying degrees, but our focus is always on our Heavenly King as we endeavor to fulfill our mission as His ambassadors and emissaries on our brief journey through this world.

Next up: Kazan’s fourteenth film, “Wild River” (1960)

The Hallmark Channel premiers first movie featuring a gay lead couple

I normally don’t watch the Hallmark cable channel, but my wife has it on at times and I noticed it cranks out movies with nearly-identical, cookie-cutter plots involving an unmarried, female protagonist who is dating an obnoxious and self-absorbed Mr. Wrong, but eventually stumbles upon sweet, charming, and attentive Mr. Right, who was usually right under her nose the whole time.

It came to my attention that on November 22nd, Hallmark premiered a new movie, “The Christmas House,” featuring a gay lead couple for the first time. The official summary states the movie “follows Brandon and his husband Jake as they visit Brandon’s parents for the holidays. The couple spends the time anxiously awaiting a call about the adoption of their first child.”

I was eating breakfast with a Christian friend recently and I mentioned the movie in question with some remarks about it being symbolic of how society is increasingly accepting of gay relationships and gay “marriages” as normal. It struck me as significant that the Hallmark Channel, widely viewed as a bastion of “goodness” and “morality,” had finally acquiesced to the LGBT agenda drumbeat.

My friend takes a different view and believes that, since we are all sinners, it’s no more objectionable for Hallmark to portray homosexuals in relationships than it is to portray anyone else. I certainly “get” the “we are all sinners” argument, but, I replied, these types of shows promote/condone homosexual behavior/relationships as a positive option, especially in the minds of younger viewers. The conversation went back and forth and we both began to become exasperated with each other’s arguments. I then offered my final thought. Hypothetically speaking, I said, Jesus Christ would not have married those two characters. He would have loved them and taught them to repent and trust in Him as their Savior by faith alone, but He would not have condoned their homosexual behavior and He definitely would not have married them. My friend replied with something along the lines of, Yeah, I agree Jesus might not have married the two, but we are not Jesus Christ and we are not to judge because we are all sinners as well. At that point, we ended the discussion because we were just going round and round in repetitious circles.

Yup, we are all sinners. No doubt about that. One of the most annoying features of the independent fundamental Baptist church we attended decades ago was the pastor’s constant railing against homosexuals. But that doesn’t mean we are to capitulate and accept sinful behavior, ANY sinful behavior, as positive and acceptable. The LGBT steamroller has drastically altered society’s view of sexuality and marriage over the last couple of decades and that view is even making inroads into the church.

Postscript: I don’t watch a lot of television outside of the news and some sports, but I have noticed the growing trend of same-sex couples being used in advertisements.

American Gospel: Christ Crucified

American Gospel: Christ Crucified
Directed by Brandon Kimber
Transition Studios, 2019, 176 minutes

In his previous documentary, “American Gospel: Christ Alone” (2018), Brandon Kimber confronted the false prosperity gospel. See my review here. In this latest film, Kimber turns his attention to the “emerging church movement” (ECM).

The leaders of ECM adopted a post-modern, relativistic approach to the Bible, insisting that God is strictly a God of love and acceptance and dismissing those passages in God’s Word that proclaim God’s wrath against sinners, His judgement, and the eternal damnation of unbelievers in hell. ECMers are especially roiled by the doctrine of the “penal substitutionary atonement” of Jesus Christ; that God the Son voluntarily bore the wrath of God the Father and the penalty for sin in the place of sinful mankind, and that only those who repent of their sin and trust in Jesus as Savior by faith alone are redeemed and born-again as God’s children.

What ECMers teach is an updated form of Universalism; that most/all people are destined for Heaven/Nirvana/paradisaical bliss. Some of the most prominent proponents of the ECM false gospel are featured in this documentary, including Brian McLaren, Tony Jones, Rob Bell, and Catholic Franciscan friar, Richard Rohr. Opinionated atheist, Bart Campolo, is prominently featured as an example of how ECM is a foundationless, slippery slope and naturally progresses into outright atheism.

Counterposing the ECMers are defenders of God’s Word and the genuine Gospel, including Voddie Bauchman, Alistair Begg, Ray Comfort, Steven Lawson, John MacArthur, Justin Peters, and Paul Washer. The spine of the documentary is the journey of believer, Alisa Childers, who was being misled by a crypto-ECM pastor, but by God’s grace became an outspoken critic of the ECM heresy.

Observations and comments

I enjoyed this documentary quite a bit. Several of the ECMers come across as quite “snarky,” especially Tony Jones, Rob Bell, and the two young, know-it-all brats manning the Deconstructionist Podcast (Adam Narloch and John Williamson). In all fairness, believers can be arrogantly “snarky” as well. I was glad to see Kimber include William Paul Young, the author of “The Shack,” as one of the ECMers. Unwitting evangelicals eagerly consumed Young’s Universalist kool-aid. Kimber and company did an excellent job of breaking down the all-important doctrine of “penal substitutionary atonement,” a theological term that sounds dauntingly complicated, but is at the heart of the Good News. The documentary begins by rapidly juxtaposing interview segments with ECMers and orthodox believers, which can be confusing for viewers who don’t know who’s who. I had to stop the documentary and explain to my wife what was going on. After an interval, the viewer is be able to differentiate between the “bad guys” and the “good guys,” but it’s confusing at first. As with the previous documentary, the title, “American Gospel: Christ Crucified,” is regrettably incongruent; a subtitle normally complements the main title rather than contradicts it.

Kimber included Stephen J. Nichols as one of the defenders of the genuine Gospel, which leads me to my closing thought. Kimber has now examined two heretical movements; the prosperity gospel and the emerging church. I wish that his next documentary would examine the growing ecumenism with Roman Catholicism within evangelicalism. Stephen J. Nichols wrote a children’s book, which included Francis Xavier, the co-founder of the Jesuits, as a “hero of the faith.” There’s A LOT of that kind of ecumenical compromise and betrayal of the Gospel floating around within evangelicalism these days.

“American Gospel: Christ Crucified” is available via Amazon video streaming as a 48-hour rental for $4.99.

American Gospel?

American Gospel: Christ Alone
Directed by Brandon Kimber
Transition Studios, 2018, 139 minutes

The documentary, “American Gospel: Christ Alone,” was first released in October 2018, and I’ve been meaning to see it ever since. I was recently made aware that the film is available on Netflix and watched it with my wife over the course of two evenings.

First off, the documentary establishes what the genuine Gospel is: salvation by God’s grace alone, through faith alone, in Jesus Christ alone. The film does an EXCELLENT job of contrasting the genuine Gospel with Roman Catholicism’s false gospel of salvation by sacramental grace and merit. Grateful kudos to Kimber and all involved for their uncompromising stand.

The documentary continues to establish what the Gospel isn’t as it turns its attention to the increasingly popular word of faith, health and wealth, prosperity false gospel. Pentecostalism, with its claims of restoring the apostolic gifts of the Holy Spirit (tongues, healing, prophecy), had its beginnings in 1901 at the Bethel Bible School in Topeka, Kansas. Pentecostalism spread and its practices eventually entered mainline Protestant denominations via the charismatic movement beginning in 1960. Pentecostals/charismatics emphasized subjective religious experiences. Key teachings that grew out of this movement are that God will heal all sicknesses (health) and that God will provide abundant material blessings (wealth) IF the suppliant has enough faith AND contributes sacrificially to the minister or church.

Prosperity gospel pastors, evangelists, and faith healers exploit people’s desire to be healthy and wealthy. This documentary exposes some of the biggest charlatans in the prosperity “industry” including Kenneth Copeland, Creflo Dollar, Benny Hinn, T.D. Jakes, Bill Johnson, Joyce Meyer, Joel Osteen, and Todd White. The film also points out that the prosperity gospelers have sought rapprochement and unity with Roman Catholicism via the Catholic Charismatic Renewal.

The defenders of the genuine Gospel of grace featured in this film include Paul Washer, Costi Hinn, Ray Comfort, Steven Lawson, Mike Gendron, Justin Peters, and John MacArthur.

This is a vitally important and masterful exposé of the word of faith, health and wealth, prosperity gospel sham and I highly recommend it to every believer. As I mentioned, it’s readily available on Netflix.

Postscript #1: The title of this documentary, “American Gospel: Christ Alone,” is confusing in its incongruity. The “American Gospel” portion alludes to the fact that the prosperity gospel has its roots in American Pentecostalism and is now being exported to all corners the world. The subtitle, “Christ Alone,” refers to the contrasting genuine Gospel. In general usage, a subtitle complements/clarifies the main title rather than contradicts it.

Postscript #2: Discerning viewers will note a couple of subtle dichotomies in this documentary. (1) Well known pastor, John Piper, is featured as one of the critics of the prosperity gospel, yet he embraces Pentecostal/charismatic practices; the wellspring of “health and wealth” theology. (2) Some of the featured defenders of the genuine Gospel include individuals identified as employees of RZIM – Ravi Zacharias International Ministries. In contrast to the warnings against ecumenism with Rome presented in this film, apologist, Ravi Zacharias (d. May 19, 2020), championed ecumenism with Roman Catholicism! I’ll be discussing more about Zacharias in an upcoming post.

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My blogging friend, Bruce, had a concern about this post and I thought it would be helpful to post our exchange from his blog’s comments section. Thanks, Bruce!

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Bruce: I noticed that you lumped all Pentecostals with the NAR and that is not necessarily true, this link refers: http://www.spiritoferror.org/2013/06/the-assemblies-of-god-and-the-nar/3246

Tom: Thanks, Bruce. I get it. As a cessationist, I am more apt to overlook/dismiss distinctions that a continuationist would not. I have read criticisms of this documentary from pro-prosperity, Arminian continuationists who note that all of the well-known spokespersons for the genuine Gospel in this documentary are Reformed. That’s fine with me as I lean towards Calvinism. The argument of the pro-prosperity Arminian continuationists is that the spokespersons in the documentary attack their views while harboring their own “heresies,” i.e., predestination. Glad you brought this up so we could present various views. As an ex-Catholic and a cessationist, I believe continuationists are in a bit of pickle when it comes to ecumenism with Rome. Catholic Charismatics (including tens of thousands of priests) who still hold to Rome’s false gospel and are not born-again according to the genuine Gospel manifest the requisite “gifts of the spirit.” Anti-ecumenical continuationists argue that the Catholic charismatics are manifesting counterfeit gifts, but you can see this is problematic.