Steve Taylor

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Angel Studios offers a scary movie about families, death, grief and monsters

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Angel Studios offers a scary movie about families, death, grief and monsters

During the rituals of prayers and stories one night, Angel Studios co-founder Jeffrey Harmon's young son asked: "Dad, what does the other side of your eyeballs look like? … Can I pull them out and look at them?"

The answer was "No." But this exchange was a reminder that kids tend to have "wild ideas" in their heads, said Harmon, in a video chat with Angel Guild members who crowdfund the studio's efforts to produce and distribute movies and cable shows.

The eyeball question surfaced during a discussion of "SKETCH," a new movie from the values-driven studio focusing on a widower and his children who are wrestling with grief. The artsy daughter, Amber, starts drawing vivid monsters, which -- after her notebook falls into a mysterious pond -- come to life and terrorize the community.

The "Evil Amber" character, a violent zombie shrouded in black, is "legit scary," admitted Harmon.

One Angel Guild member said: "This movie is demonic. I pulled my family out within 10 minutes." Others shared concerns about demons and Harmon said "dozens and dozens and dozens" said the movie needed a PG-13 rating because of language and horror issues.

One supporter bluntly asked if Angel is still a "Christian based platform." Harmon stressed that its motto promises to "amplify light," but that also means "demons are real" and believers must defeat them.

“If you think Angel is not going to show demons, or show scary images or scary monsters, we just may not be the home for your movie viewing," he explained. Harmon also offered this quotation from Christian apologist G.K. Chesterton: "Fairy tales do not tell children that dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed."

While "SKETCH" team members have called it "Jurassic Park" meets "Inside Out," the dark-humor flick also contains nods to Richard Donner's "The Goonies," Alfred Hitchcock's "Psycho" and the faith-versus-aliens flick "Signs" by M. Night Shyamalan. Some scenes resemble "Godzilla" movies, only created by a child with crayons and Sharpie pens.

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Hard question from Bob Briner: Why are there so few excellent Christian movies?

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Hard question from Bob Briner: Why are there so few excellent Christian movies?

Decades later, it's hard to remember how much "Chariots of Fire" shocked the Hollywood establishment, with soaring box-office totals and four wins at the 1982 Oscars -- including a Best Picture win for producer David Puttnam.

The film's focus on two legendary runners -- one Christian and the other Jewish -- also pleased believers who rarely applaud how faith is handled on screen.

That sent the late Bob Briner to London, seeking Puttnam's private office. Briner was an Emmy winner and global sports media trailblazer who worked with tennis legend Arthur Ashe, Dave Dravecky, Michael Jordan and many others.

"Naive soul that I am, I believed that the success of Chariots would trigger a spate of similar films," Briner wrote, in "Roaring Lambs," a 1993 book that was popular with college students and among media professionals. "It seemed to me that the movie moguls would see that a great, uplifting story … backed up by stirring music and produced on a reasonable budget would be a formula for success after success."

That didn't happen. A melancholy Puttnam had stacks of potential scripts.

"He was looking, but not finding," wrote Briner. During his career, Puttnam had "shown an affinity for producing quality, uplifting, affirming, even Christian-oriented movies, but no one was bringing him scripts of quality."

Briner, who died of cancer in 1999, was an articulate evangelical and supporter of Christian education and all kinds of projects in mass media, the fine arts, business and print storytelling. I met him through his efforts to meet journalists who were active in various Christian traditions, while working in mainstream news.

Now, the Briner Institute is publishing a new edition of "Roaring Lambs," while seeking discussions of the many ways the Internet era has changed the media marketplace, creating new ways for religious believers to reach mainstream consumers -- but also temptations to settle for niche-media Christian products.

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Canterbury Cathedral throws a flashy disco rite for chic modern pilgrims

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Canterbury Cathedral throws a flashy disco rite for chic modern pilgrims

The Gothic Revival sanctuary of the former Episcopal Church of the Holy Communion was a strange edifice to house a dance club, but that's what happened in the early 1980s with the infamous Limelight club in New York City.

Rocker Steve Taylor penned a snarky tribute, including this pounding chorus: "This disco used to be a cute cathedral / Where we only play the stuff you're wanting to hear … / This disco used to be a cute cathedral / But we got no room if you ain't gonna be chic."

Four decades later, this song surfaced during online chatter about the February 8-9 dance nights inside Canterbury Cathedral, the Church of England's most hallowed sanctuary.

Dubbed the "rave in the nave" by critics, revelers gulped drinks from the bar and sang along to hits streamed by DJs into rented headphones. One participant described dancing to "Horny" by Mousse T. -- "I'm horny, horny, horny, horny, I'm horny, horny, horny, horny tonight" -- not far from the stone tiles on which St. Thomas Becket was murdered in 1170.

"The decline of Western Christendom continues unabated," noted Taylor, via email. His song, with its Limelight callout, was a critique of modernized brand of faith that sacrifices its message to gain popular appeal. "I think that I referred to it as country club Christianity."

Outside Canterbury Cathedral, one protester told The Telegraph: "Thomas Becket is buried in the same location in this cathedral as our late Queen is buried in St George's Chapel. Would it be acceptable to have a rave in that place? Would anyone accept that? … This is going to make people take the church less seriously than they did before, rather than more seriously."

Canterbury's dean rejected the "rave in the nave" label and argued that the "90s-themed silent disco" would show proper respect for the cathedral's cultural and arts heritage.