Redemption Movie Quotes

I want there to be a place in the world where people can engage in one another’s differences in a way that is redemptive, full of hope and possibility. Not this “In order to love you, I must make you something else”. That’s what domination is all about, that in order to be close to you, I must possess you, remake and recast you.

Grace abounds in contemporary movies, books, novels, films and music. If God is not in the whirlwind, He may be in a Woody Allen film, or a Bruce Springsteen concert. Most people understand imagery and symbol better than doctrine and dogma. Images touch hearts and awaken imaginations. One theologian suggested that Springsteen's 'Tunnel of Love' album, in which he symbolically sings of sin, death, despair and redemption, is more important for Catholics than the Pope's last visit when he spoke of morality only in doctrinal propositions.

Too much time will do that to you. Blur the edges between your memories and your imagination until everything feels like something you saw in a movie instead of your life.

Movies teach us valuable life lessons. They teach us if we reach deep enough inside ourselves, we can overcome whatever problems we’re dealing with, regardless of the odds.

It exhausts me, it slows me down, it balls me up on the couch with movies and terrible food and it makes me weak. It’s not beautiful or brave or redemptive. It’s like a light case of mono that never goes away. I don’t want to be brave. I want us to be okay.

If there was a bad guy we could appeal to the people because, like it or not, we, the huddled masses, want our public figures to be good or bad but rarely allow them to mix the two. Not good an bad. We place people in these categories, which then creates a smooth story-line but also a dichotomy. It's why we like our male movie stars to be either bad boys or heroes, our leading ladies sluts or soccer moms. We like our politicians to be tough guys or saints. What we don't like are any signs of actual humanity, a mixture of the two. So we are left with the question: who is the bad guy? And is the bad guy in control of all that is bad?

We tell stories because we’re broken creatures hungering for redemption,

Peace without justice and equal opportunity is no Peace.

what encourages me when I’m faced with the call of the cross in a newly exposed area of my life is when I look around at the beloved people in my church and see that the cross is just as relentless in their lives. They are living, breathing movie trailers displaying the future redemption story. My single friends who want to be married could be traipsing around the city dating and sleeping with anyone and everyone. They could be taking their future into their own hands rather than waiting on the Lord and entrusting themselves to him. My married friends who have experienced difficulties in their marriages could be taking their spouses to divorce court. My same-sex attracted friends could be succumbing to their desires. All these hold steady in truth and grace for the sake of the gospel, and their stories not only compel me to do the same but also solidify our bonds of unity and friendship and show me anew the surpassing worth of the gospel.

Are you committed to a life of continual counseling, growth, and education? Are you committed to a life of consistently receiving truth, of renewing your mind? From what sources do you receive your counseling? Are you reading books by authors who speak wisdom? Are you listening to music and watching movies that have redemptive and edifying themes? Are you involved in a small group or community of people that can offer you support, guidance, and encouragement, and in which you give back that which you have been given? Do you know of professional counselors you can see when needed? Are you asking God for wisdom about life on a regular basis? (He says if you will ask, He will provide [see James 1:5–8].)

Please read prayerfully what I'm about to write. When God puts a passion in your heart, whether it be relieving starvation in Africa or educating children in the inner city or making movies with redemptive messages, that God-ordained passion becomes your responsibility. And you have a choice to make. Are you going to be irresponsibly responsible or responsibly irresponsible?

The whole notion of “Be true to yourself” is similarly problematic. Society pounds this idea into us in the unrelenting echo chamber of television, movies, and social media. And it is one of the underlying themes of most movies, even children’s movies. Again, “yourself” in this scenario is corrupted by sin, so why be true to that? The whole idea of this is bound to the exaltation of self. It carries the implication of making yourself your own god. Putting yourself and your desires on a pedestal and worshiping them. Being true to yourself is nothing short of idolatry. Oh, and isn’t a child molester just being true to himself? A rapist? A thief? A greedy person? And on it goes. So no thank you. I don’t want to be true to myself. I want to be true to God and his Word.

In American Beauty Lester suffers alone. His critical investigation of his feelings takes place in his head. And he cannot survive being so utterly vulnerable and isolated. Ultimately, movies send the message to male audiences that men will not be meaningfully empowered if they learn to love. American Beauty finally tells audiences that there is no hope for depressed men who are willing to critically reflect on their lives. It tells us that even when men are willing to change, there is no place for them in patriarchal culture. The opening lines of the film say it all: “My name is Lester Burnham. I am forty-two. In less than a year I’ll be dead. Of course, I don’t know that yet. And anyway, I’m dead already.” Popular culture offers us few or no redemptive images of men who start out emotionally dead.

From love's absolutism to love's absolution? No: I don't believe in the cosy narratives of life some find necessary, just as I choke on comforting words like redemption and closure. Death is the only closure I believe in; and the wound will stay open until that final shutting of the doors. As for redemption, it's far too neat, a movie-maker's bromide; and beyond that, it feels like something grand, which human beings are too imperfect to deserve, much less bestow upon themselves.

we know that what we find physically attractive has been for the most part culturally informed, it is wise to acknowledge that God has hardwired us for the commitment of companionship over and above sexual attraction or physical pleasure. Companionship brings deeper joy and greater pleasure than the mere physical could ever bring by itself. If you have physical attraction and no companionship in your relationship, you’ll eventually be miserable; but if you have deep companionship with each other, physical attraction isn’t as important and becomes less and less so as time passes. In the movie Cast Away, we

This book is fiction and all the characters are my own, but it was inspired by the story of the Dozier School for Boys in Marianna, Florida. I first heard of the place in the summer of 2014 and discovered Ben Montgomery’s exhaustive reporting in the Tampa Bay Times. Check out the newspaper’s archive for a firsthand look. Mr. Montgomery’s articles led me to Dr. Erin Kimmerle and her archaeology students at the University of South Florida. Their forensic studies of the grave sites were invaluable and are collected in their Report on the Investigation into the Deaths and Burials at the Former Arthur G. Dozier School for Boys in Marianna, Florida. It is available at the university’s website. When Elwood reads the school pamphlet in the infirmary, I quote from their report on the school’s day-to-day functions. Officialwhitehouseboys.org is the website of Dozier survivors, and you can go there for the stories of former students in their own words. I quote White House Boy Jack Townsley in chapter four, when Spencer is describing his attitude toward discipline. Roger Dean Kiser’s memoir, The White House Boys: An American Tragedy, and Robin Gaby Fisher’s The Boys of the Dark: A Story of Betrayal and Redemption in the Deep South (written with Michael O’McCarthy and Robert W. Straley) are excellent accounts. Nathaniel Penn’s GQ article “Buried Alive: Stories From Inside Solitary Confinement” contains an interview with an inmate named Danny Johnson in which he says, “The worst thing that’s ever happened to me in solitary confinement happens to me every day. It’s when I wake up.” Mr. Johnson spent twenty-seven years in solitary confinement; I have recast that quote in chapter sixteen. Former prison warden Tom Murton wrote about the Arkansas prison system in his book with Joe Hyams called Accomplices to the Crime: The Arkansas Prison Scandal. It provides a ground’s-eye view of prison corruption and was the basis of the movie Brubaker, which you should see if you haven’t. Julianne Hare’s Historic Frenchtown: Heart and Heritage in Tallahassee is a wonderful history of that African-American community over the years. I quote the Reverend Martin Luther King Jr. a bunch; it was energizing to hear his voice in my head. Elwood cites his “Speech Before the Youth March for Integrated Schools” (1959); the 1962 LP Martin Luther King at Zion Hill, specifically the “Fun Town” section; his “Letter from Birmingham Jail”; and his 1962 speech at Cornell College. The “Negroes are Americans” James Baldwin quote is from “Many Thousands Gone” in Notes of a Native Son. I was trying to see what was on TV on July 3, 1975. The New York Times archive has the TV listings for that night, and I found a good nugget.

There is one chief work that defines and centers all of human history. It is God’s work of salvation. History is the history of redemption. It is a grand narrative that shapes all of life and meaning. Redemption is the center, guiding and governing all the details. There is not chaos; there is nothing random. God has bent His bow. He has taken aim, and the arrow of His purposes and intentions will hit squarely on the mark. Not only does redemption give shape and meaning to human history, redemption gives shape and meaning to individual lives. The movie playing out on the big screen has not been left to chance. God governs history and moves it along toward His desired end and purpose as surely as the sun rises. The short clip, playing out on the small screen, has not been left to chance, either. God’s purposes for His people, the individual purposes for His individual people, will come to pass. We can have confidence in God’s work of redemption.

All human creativity is an echo of God’s creativity. When God makes man, he forms him in the dirt, breathes life into him, and sends him out in the world. We’ve been playing in the dirt ever since. Just as God took something he’d made, shaped it, breathed life and meaning into it, and transformed it into something new, so we set about our own business, taking creation, shaping it, and giving it new meaning and purpose. Clay becomes sculpture. Trees become houses. Sounds are arranged in time to become music. Oils, pigments, and canvas are arranged to become paintings. Various metals, glass, and petroleum products become iPhones. The same is true of stories. There is nothing new under the sun, and our stories—no matter how fresh and new they might feel—are all a way of “playing in the dirt,” wrestling with creation, reimagining it, working with it, and making it new. Our stories have a way of fitting into the bigger story of redemption that overshadows all of life and all of history. Because that bigger story is the dirt box in which all the other stories play.

That movie you made me watch, first time at your house. Love and redemption. You said, ‘The most beautiful stories ever told are the most difficult to take.’You said that, Red. Right out. And I knew if you got that, when it was later and I shared my shit with you, you’d get me. I never thought my story was beautiful. I thought it was shit. But you said that and when you did, I saw it. The ride is not over but if I can keep my Club together and find a sweet, feisty woman who’s got my back and enough to her that she’ll stay there, holding me up not dragging me down, I figure I’d find my way to beauty eventually. And I’d find absolution because I’d know, I earned the love of that woman, a woman who’s got so much to her it’ll take years to dig down and find the heart of her, that would be my reward.”Ohmigod. Ohmigod! Ohmigod! Did he just say that? Did. He. Just. Say that? “And you told me,”Tack continued, his face coming closer, “I had that when I first met you.”“I—”“So I was hooked to that shit, I did it, I participated in it, I was loyal to my brothers as I’d vowed I’d be and I pulled me and my Club out of it. I did that but that didn’t erase what we did. You are my absolution.

The best stories (whether book or movie) involve redemption. If you are someone who believes you have made too many mistakes or your life has been too "bad" for God to want you, think of it this way: God, the greatest story teller, has not yet finished your story, and He can make it a really great story by including a really great redemption. All of us, in truth, need a really great redemption, which means, through Jesus, all of us have a really great story.

Cook yourself some bacon or something.” “Pfft. Rather have the beer.” “Not while I’m standing here,” I said. “You’re underage.” She puffed air up against her fallen bangs, making them flutter. “Aren’t you, like, a thief or something?” “Or something, sometimes.” “But you won’t let me have a beer,” she said. “Nope. A man’s got to have standards.” Melanie pulled a sealed package of turkey bacon out of the fridge and reached for a frying pan. “Ooh,” she said sarcastically, “the code of the criminal underworld, just like in the movies. Like you won’t shoot women or kids, right?” I shrugged. “I try not to shoot anybody if I can help it. If I’m put in a position where I have to, though, their gender or their age doesn’t have a whole lot to do with it.” “And let me guess, you never steal from your boss?” “Depends.” “Depends?” she said. “On how much of an asshole he is.” “That happen a lot?” “Working for assholes?” I said. “You have no idea.” She laughed.

I could see the sorrow in her eyes as she gently brushed his hair aside and kissed his brow. Then she snapped his neck. Ben’s corpse tumbled to the floor. Emma sank to her knees beside him, mute. She brushed her fingertips along his lifeless arm. If this was an action movie, that would have been her cue to say something badass. But this wasn’t a movie. It was just a stupid dead man and a grieving widow and a gulf of pain I couldn’t imagine.

Well, that’s sort of the problem,” I say, glancing down at my feet. “I’m really good at talking. Not so good at the other thing.” “What other thing?” He looks half-confused, half-annoyed. “Kissing. Jesus, keep up, Beefcake.” He frowns. “You’ve never kissed a guy before?” “Of course I have,” I snap. “I’ve kissed plenty of guys.” Well, not plenty. But enough. “So, what’s the problem?” he asks. “I just … it’s never like it is in the movies.” Michael makes a strangled noise and turns toward my nightstand, opening the drawer. “What are you doing?” I ask. “Looking for a gun,” he mutters.

love and honesty are the path to redemption and fulfillment, anything else leads ultimately to tragedy.

Paradoxically, the musical Merrily is both very faithful yet rather untrue to its source. To repeat: in the musical, we lose a substantial piece of information about why the hero is so determined to achieve financial independence: to protect himself from the kind of beating he took during his first marriage. No one, we almost hear him cry, will ever own me again! But the musical also improved on that hero, trading the somewhat high-strung Richard Niles for the more fascinating Franklin Shepard, a wonder boy on whom everyone needs to project his or her fantasies. He’s a savior, yes—but of no redemptive power whatsoever, because he’s too self-absorbed to relate to others. Is that why he gave up the very creative vocation of composer for the bureaucratic post of movie producer? Like so many Sondheim shows, Merrily We Roll Along raises more questions than it answers. But raising questions is the theatre’s mandate. It may be that we’re never going to know what drives Franklin Shepard, just as we never quite understand the Franklin Shepards we meet in life. The better we know them, the more they confuse us. One Merrily lyric runs, “It started out like a song.” It always does, doesn’t it?

As you slowly take in the movie, however, you start to see that behind the seemingly absurd attachment of people to their animals lies redemption: Yes, life may be bleak, but we can impose meaning on that bleakness. The intense love that people have for their pets, initially presented as silly and absurd, gradually becomes sympathetic, even beautiful. Ultimately, Ebert came to see the film as being about the “hope held by the loneliest people who have ever been seen on film” and “the deepest of human needs, for human companionship.

When God puts a passion in your heart, whether it be relieving starvation in Africa or educating children in the inner city or making movies with redemptive messages, that God-ordained passion becomes your responsibility. And you have a choice to make. Are you going to be irresponsibly responsible or responsibly irresponsible?

You have a pretty name." "So do you." "Not like you. 'Grace' is the name of a princess or a movie star or, you know, something from heaven. Grace. The fruit of redemption." Carter said it as though repeating something she'd heard many times, which of course she had. Grace just chewed, her mouth full of apple. "At least, that's what they say," Carter continued. "That's what they say." On the backs of Carter's hands Grace could see a few scrapes, the kind kids get from running around in the woods. Grace remembered when the backs of her hands looked just like that. "'Carter' means 'driver of a cart.' In Old English or something. But everyone thinks of the ex-president of Georgia." "Well, I didn't." Carter stared at Grace, blinking, as though looking for something. "I think it's a beautiful name," said Grace. "It's full of character.

Do you actually hear confessions in your church, Father, actual spoken confessions? For that matter, does any priest anymore, at least as the movies depict them, the little lattice between confessor and penitent, its delicate chiaroscuro screening the priest's profile and veiling the lips of the sinner? Surely Freud himself, when he positioned himself behind and out of sight of his recumbent patients, sought a similar partial anonymity. How we analysts must envy you, your belief in redress, in the promise of absolution and redemption. How clean the words sound compared to our own impure remedies: recollection, interpretation, speculation, suggestion. Strange, isn't it, how we have both sealed ourselves in small, half-lit chambers, both in the service of gods who share nothing but the name of Love.

This culture gave rise to review sites and media watchdog groups (part of evangelicalism’s aforementioned cultural critique) who became moral bean counters, neatly cataloging infractions for concerned parents or easily offended saints. For example, one media watchdog group noted that the popular film The Blind Side (2009), despite a positive portrayal of evangelicals and a redemptive message, contained 10 sexual references, 3 scatological terms, 8 anatomical terms, and 7 mild obscenities — offenses that eventually resulted in Lifeway, one of the largest Christian bookstore chains in the world, removing the movie from its shelves.

Seriously. What’s with the face?” Jordan asked. “You’re scaring my cabernets with that scowl.” “I’m just working through some stuff,” he said vaguely. Jordan raised an eyebrow, studying him. “Prison stuff?” “More like post-prison stuff. Nothing we need to talk about.” The last thing he needed his super-perfect twin sister with her super-perfect FBI boyfriend knowing was that he was in another dispute, of sorts, with the U.S. Attorney’s Office. He was cranky enough about the situation without Jordan laying into him about it. He’d left prison several weeks ago and was supposed to be moving on with his life, yet the vestiges of the place still clung to him. Like bad BO. He picked up four of the wine bottles Jordan had unpacked. “Where do you want these?” She pointed. “In the empty bin over there, with the other cabernets.” She looked over when Kyle came back to the bar. “So what kind of post-prison stuff?” Now he was getting suspicious. “What’s with the twenty questions?” “Sue me for trying to open a dialogue here. Geez. I’ve just been a little worried about you, since I’ve heard that it can sometimes be difficult for ex-inmates to reenter normal life.” Kyle shot her a look as he grabbed more wine bottles. “Where, exactly, did you hear that? Siblings of Ex-Cons Anonymous?” Jordan glared. “Yes, we have weekly meetings at the YMCA,” she retorted. Then she waved her hand vaguely. “I don’t know, it’s just…something I saw on TV this past weekend.” Ah. Kyle suddenly had a sneaking suspicion about the cause of his sister’s concern. “Jordo…by any chance were you watching The Shawshank Redemption again?” “Pfft. No.” She saw his knowing expression and caved. “Fine. I was flipping through the channels and it was on TNT. You try turning that movie off.” She looked at him matter-of-factly. “It’s very compelling.

A tall good-looking man in an army uniform hopped out first. He had salt and pepper hair and looked like he could star as a General in a Hollywood movie. “The Angel of Death,” Tempest whispered under her breath. “Is hot.” Ryder turned to her with a frown. She bit her lip nervously. “Did I say that last part out loud?

Pornography is a way of democratizing the quest for sexual fulfillment, making a pantheon of sexuality available for everyone. It is also a kind of sad, pathetic effort at redemption. It is a religious event, where sacrifices are made of money and dignity, and the god of fornication promises to the priests (the porn stars and filmmakers) fame and wealth, and to the acolytes (the consumers) a transcendent and satisfying sexual experience, something “hot,” “raw,” and “real” that is otherwise unavailable in their ordinary and often lonesome lives. But again, it’s only as satisfying as a meal, and the appetite will need to be fed again and again.

making our way through a theme movie night (we’d picked out four films in which the ending is probably the main character’s dying hallucination: Taxi Driver, Minority Report, The Shawshank Redemption, and Mrs. Doubtfire). In

The thing we don’t want to say is that our world today is based entirely on self. We sit on the throne of our own lives. It’s about self-expression, self-love and then somebody does something to you.That’s why this film has been controversial in a funny and unexpected way. What has been controversial, of course, is families loving their enemy. But when you understand Christ and understand that he paid an unpayable debt for you, and that before God, we all need forgiveness in a way that is just as severe as even a murderer. It gives you the resources to humble yourself before even your enemies and extend the same mercy that you’ve experienced in your own life. That’s something Christianity has done from the beginning in every justice initiative that has put us all on the same level. We can love anybody no matter what they’ve done, where they’ve from, what they look like, and the ground for the cross is flat. There’s this false idea that one day, we’re going to just all get along just because there’s some human ideal that we have. But we all know that, at least within the Christian context and the Judeo Christian belief, is that [is] impossible, apart from redemption. It changed human heart not just, they say, politics turns the bush, but the gospel cuts the root. With these families, you see people who have been changed and forgiven. Therefore, they have the ability to extend that. It was something that led me through the whole process. I feel like I made the whole movie from the place of no one, and I stand the need of that same mercy and grace.

In the movies Sean watched, redemption was a possession never lost once obtained. In life, redemption was walking up the down escalator: stop to congratulate yourself, and back you slid.