What The Shack lacks for in clarity, it makes up for in boldness. It deals head-on with the vexing questions of why a good God allows evil to exist and why people have to suffer.
It’s billed as a true-crime podcast, but that’s like calling Dylan a gospel singer; while a section of the story revolves around the crime that McLemore mentions in the email, it’s really only a couple of records in a lifelong catalog.
There are two movies here, neither of which get along well with the other. There’s the Disney musical with the melodramatic love story. And then there’s everything in and about the Beast’s castle.
When I was a grown-up, I watched Logan, and again I remembered being a kid who watched those cartoons, in part to root for Beast and Cyclops and Wolverine, and in part to deal with a dark and dreary world.
Scorsese has made his most “Christian” movie here—at least, overtly Christian. Silence says in a hundred creative ways that God is Not Dead, although not, thankfully, in the title.
The core of this movie is love: love for vocation, talents, location, art, and other people. At the end of the day, this is a movie made up of the basics: primary colors, ordinary singers, real location shoots around the city of Los Angeles.