Blue Like Jazz: Too Subtle for Its Own Good

It’s a rare thing to be sitting in a movie theater and feel like the film you’re viewing was, somehow, made just for you. I’ve had that particular experience once before. Maybe twice. The first time was with Treasure Planet, because, at the time, nobody but me recognized the supreme awesomeness of steampunk, or of the combination of pirates and space — a pairing far more inspired than chocolate and peanut butter (which I’ve always found to be overrated, but don’t tell my wife). I might count Ratatouille among these as well, but I won’t, since everybody likes Pixar movies, and I have no desire to make myself a cliché.

What you can add to the list, however, is Steve Taylor’s film Blue Like Jazz. I feel pretty alone in really loving this movie, since the theater was deserted when I saw it and it’s currently sitting at a disappointing 48 on Metacritic. But I suppose that’s to be expected. It’s not the sort of movie you’ll love if you walk into the theater with your brain turned off (which, given the massive success of Michael Bay, is apparently what most people do), and it’s not something that will beat you over the head with a trite presentation of the Gospel message (did you hear that noise? it was Kirk Cameron shedding a single tear). What it is, is the story of a single believer being drawn out of the Slough of Despond by the still, small voice of God.

When I got home from the film, I posted this on my Facebook page, along with a link to the trailer: Continue reading