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Last week, Mel Gibson’s latest gore-fest “Apocalypto” opened alongside “Blood Diamond,” the violent liberal ego-stroker by Edward M. Zwick ’74, and movie observers pointed to a trend of serious violence in movies. David Carr, the New York Times’ so-called “Carpetbagger” (Oscar observer), wrote a column about how many movies tagged with the speculative title of “Oscar-worthy” are filled with blood...
...Apocalypto,” Mel Gibson doesn’t try to persuade you to care about the fall of the Mayan empire. He’s more interested in painting the last bit of blood on that recently eviscerated human heart. The violence in “Apocalypto” seems obscene because Gibson does nothing to justify or contextualize it. The main character (Jaguar Paw, played by Rudy Youngblood) is motivated largely by the fear of having his skin peeled off, literally...
...there's not a lot of Christ - passionate or otherwise - in Apocalypto, Mel Gibson's first film since The Passion of the Christ. But a crucifix finally shows up at the film's end, and the film's response to it is surprisingly equivocal...
...Christian viewer, the biggest question about Mel Gibson's movie Apocalypto is: why does its hero turn away from the Cross...
...past--that place where the mindlessly cruel and the idealistically aspiring meet in vicious conflict--has been good to Mel Gibson. It brought him Oscars for Braveheart and hundreds of millions of dollars for The Passion of the Christ. It satisfies his directorial bloodlust and permits him to traffic in easily read moral metaphors about the issues...