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An interesting perspective (even though the writer had not yet seen the film) from a Christian in the Reformed tradition, trading thoughts with another of the same theological convictions. hat tip, Julia

Via Get Religion the lowdown on the screenwriter for the film, a man named Benedict Fitzgerald, who not only wrote the screenplay for the film version of Flannery O’Connor’s Wise Blood, but who is the son of Robert and Sally Fitzgerald, two of O’Connor’s closest friends. Made for this project, I would say.

Kevin Miller is wondering why certain things evoke warnings from the Diocese of Cleveland and other things…don’t.

That’s my husband. He has pulled together the gospel accounts and Anne Catherine Emmerich’s account of the Agony in the Garden, for starters, and put them in context in relation to the film.

The NYTimes ponders Hollywood is a close-knit world, and friendships and social contact are critical in the making of deals and the casting of movies. Many of Hollywood’s most prominent figures are also Jewish. So with a furor arising around the film, along with Mr. Gibson’s reluctance to distance himself from his father, who calls…

Maureen Dowd I went with a Jewish pal, who tried to stay sanguine. “The Jews may have killed Jesus,” he said. “But they also gave us `Easter Parade.’ ” The movie’s message, as Jesus says, is that you must love not only those who love you, but more importantly those who hate you. So presumably…

What didn’t you like about the film? Michael thought that the Agony in the Garden was poorly done, and said last night that the Herod scene was “silly.” (His word!) Et vous?

What did you particularly like about this film? Artistically, theologically…anything.

At First Things, from Russell Hittinger and Elizabeth Lev Ultimately, The Passion of the Christ is about witnessing and bearing witness. On one level, the film is calculated to make us want to turn away and go home. At the outset, Jesus tells his disciples in the garden that he doesn’t want them to see…

At the New Republic Beneath all the God-talk by Gibson is a commercial enterprise. Gibson’s film career has been anchored in glorification of violence (the Mad Max movies) and in preposterous overstatement of the actual occurrence of violence (the Lethal Weapon movies). Gibson knows the sad Hollywood lesson–for which audiences are ultimately to blame–that glorifying…
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