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Randy wonders if we would think that murder was wrong if we were not taught that murder was wrong. It demands too much. She IS Sharon, reacting as Sharon would react — and therefore it is unpredictable and without cliches.

When is the Rapture?

Through a couple of haunting encounters and overheard conversations, Sharon begins to feel like something is coming. Some event. She overhears things. People whisper at the lunch table in the cafeteria and then stop whispering when she sits down with them. Something is going on, something everyone else seems to know about. What is it? What does it mean? She wonders if maybe she is missing out. She wants to be a part of the group, the group that whispers together in the lunch room.

Two men in ties show up at her door to tell her about the final days, and that she needs to be prepared. The film goes into a realm that few films go into and it is astonishing to watch. It takes the Book of Revelations literally , and because of that the characters do not come off as they usually do in movies as caricatures. Something in her wants to know. The scene is amazing. You keep waiting for the judgmental caricatures to arise, you keep waiting for the filmmaker to start making fun of these people … but Tolkin is up to something else here.

The film is not outside. The film does not sneer at such people. And so the proselytizers who show up at her door are not fire-breathing dragons. Its transformations, its naked pain, its fearless openness.

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At times it is hard to look at her. She experiences the love of God for the first time, and her entire life transforms. She turns a corner. Nothing fits anymore. And you can see the change in her face. You see softness there, joy. She sits at her telephone operator cubicle — and tries to spread the good news to the poor folks looking for the number of the ASPCA in Oakland. She is supposed to spend a maximum amount of 15 seconds on each call. Her calls are now averaging 7 minutes. Her boss calls her into his office to reprimand her.

The Fault in Our Stars?

For me, this was the most important scene in the film, and one that is so deftly handled — so delicately set up — that its power is so subtle you might miss it. We all know what the cliche is for such scenes: Gruff boss man who has no understanding tells his employee to knock the shit off. And to some degree, yes, that is how the scene begins.

Mimi Rogers does not play Sharon simply. It is quite urgent. People need to be prepared. These are difficult things to play. One wrong step and the entire thing would unravel. Mimi Rogers does not take the easy way out. Rogers almost pleads with her boss. Watch how he responds. And watch how she responds in turn. THAT is why this film is difficult and awesome. THAT scene. The Book of Revelations is not a metaphor. This is not an easy film. For anyone. I found it nearly unwatchable at times, it made me so mad and edgy.

Yearning for the end of the world | News | The Guardian

In this story, in this movie, to these people, the Book of Revelations is literal, and so he follows that path. Tolkin decides to believe that they mean what they say. Whether or not he believes it in actuality is irrelevant. The Rapture examines what it would be like if you believed it.

go here And she pays a horrible price for her belief. As horrible as can be imagined. None of the believers in the film have that snottiness, or display any Jesus Camp kind of craziness. They are quiet, firm, and gentle. If you believe, they know. That He meant what He said. The Bible is literal. Can she do it? Can she do what He asks? Tolkin wrote the novel The Player — and he also wrote the screenplay for the Robert Altman film of the same name, another cold clinical excavation of an entire self-defined world with an insular mindset that might seem foreign to those not a part of it. If you live in Los Angeles you know that there is only one business.

It is an exclusive world, and only the elect get to join. Some odd similarities, if you think about it, even though the people in The Rapture are part of a very different club. Griffin Mill is a product of Hollywood and he behaves accordingly.


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He is hollow, just like that world is hollow, and any question of art has been long forgotten. He commits a murder. Tolkin wrote The Rapture too, and while I would not call it cynical, I would call it brutal. There is no rest. There is no peace.


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There is just a price that must be paid. You KNEW what you were getting into. Pay up. That woman is fearless. There are also some Ed Wood-esque special effects that make you wince, but in the end, all of that lessens in importance. The reason to see it is Mimi Rogers. Not many actresses or people, for that matter are that honest with themselves, that fearless in showing us their ugliness and pettiness and fear.

I did not remember this kind of anxiety in Iran, a place where we worshipped underground, where falling mortar interrupted our meals and revolutionary guards slept a few doors away. In my intimate hilltop church, discussions took on a frantic, impatient new tone.

Here, the talk was a way of engaging with politics. The most ardent in the church carried out a side-by-side exegesis of newspapers and scripture with a certain thrill, as if fitting a puzzle piece into place.