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Analysis Date: May 30, 2003
CAP Score: 43 out of 100
CAP Influence Density: 1.27
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(2003), PG-13 -- The Italian Job is indeed another "R-13."
Cast/Crew Details Courtesy Internet Movie Database
Production (US): Paramount Pictures, De Line Pictures
Distribution (US): Paramount Pictures
Director(s): F. Gary Gray
Producer(s): Tim Bevan, Guido Cerasuolo, Donald De Line, Jim Dyer, Eric Fellner, Wendy Japhet
Written by/Screenplay: Troy Kennedy-Martin (1969), Donna Powers, Wayne Powers
Cinematography/Camera: Wally Pfister
Music: John Powell
Film Editing: Christopher Rouse
Casting: Sheila Jaffe
Production Design: Charles Wood
Art Direction: David Sandefur
Viewed At: Driftwood Theater 6
The Italian Job (2003) is another chance to use the CAP analysis model to reveal the degradation of morality in modern entertainment by comparing this analysis to that of the 1969 version of it. And I will when funds and thus opportunity comes.
Master safe-cracker, John Bridger (Donald Sutherland) is training Charlie Croker (Mark Wahlberg) as master thief [3John 11] using a heist in Venice, Italy (the Italian job) of $35 million in gold bullion as the final exam.. In an inventive scenario, Bridger, Croker and four other crooks pull off one of the slickest tricks ever. Croker passes with flying colors and the theft is successful [Hab. 2:6, 12]. Together, the crew celebrate their ill-gotten goods over libations [Ps. 62:10] ... until Steve Frezelli (Edward Norton), who was one of the Bridger's gang betrays them, swipes the swipe from Bridger and crew, murders Bridger and leaves the rest for dead in a river. Not to worry. All four of Bridger's remaining crew survive. And so does Frezelli.
In addition to Croker, Bridger and Frezelli the caper culprits are Left-Ear (Mos Def) who dropped too many M-80s into a toilet bowl as a lad, Handsome Rob (Jason Statham) who was the only one ended up in bed with a woman in the film and Lyle (Seth Green), the computer genius who was "the real inventor of Napster" and engineer of the city-wide control of traffic lights to force Frezelli's armored car carrying the gold to the spot Croker was prepared to do crime on crime.
A year later back in Philadelphia, Croker seeks to regain his ill-gotten gain and enlists the aid of safe-cracker daddy Bridger's safe-cracking daughter Stella (Charlize Theron). Since the target of Croker's offensive is the murderer of her father, Stella, though reluctantly at first, sees the "benefit" of burning Frezelli and eagerly aids Croker.
And, of course, there was absolutely no legal consequences for their crimes [Eccl. 8:11].
With a final score of 43 out of 100, The Italian Job is indeed another R-13. The biggest losses of points were in Wanton Violence/Crime and Impudence/Hate. With 27 uses of the three/four letter word vocabulary plus one use of the most foul of the foul words, there was no hope of any score above zero in Impudence/Hate. Yes, there was intercourse. It was not seen but the man crawling out of the bed with the woman still in it was seen -- in their underwear. Please rely on the listing in the Findings/Scoring section for a complete itemization of the findings.
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***Selected Scriptures of Armour against the influence of the entertainment industry***
As always, it is best to refer to the Findings/Scoring section -- the heart of the CAP analysis model -- for the most complete assessment possible of this movie.
Wanton Violence/Crime (W)
Offense to God (O)
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|NOTE: While the Summary/Commentary section of these reports is precisely that -- a summary in commentary format which can be and sometimes is subjective, the actual CAP Analysis Model (the Findings/Scoring section) makes no scoring allowances for trumped-up "messages" to excuse, for manufacture of justification for, or camouflaging of ignominious content or aberrant behavior or imagery with "redeeming" programming. Disguising sinful behavior in a theme/plot does not excuse the sinful behavior of either the one who is drawing pleasure or example of behavior or thought from the sinful display or of the practitioners demonstrating the sinful behavior. We make no attempt to quantify the "artistic" or "entertainment" value of a movie -- whether a movie has any positive value or "entertainment" value is up to mom/dad. The CAP analysis model is the only known set of tools available to parents and grandparents which give *them* the control they need, bypassing the opinion-based assessment of movies by others and defeating the deceit of those who would say anything to convince their parents otherwise. The model is completely objective to His Word. Our investigation standards are founded in the teachings and expectations of Jesus Christ. If a sinful behavior is portrayed, it is called sinful whether Hollywood tries to make it otherwise. That the sinful behavior is "justified" by some manufactured conditions does not soften nor erase the price of sin. Whether there is application of fantasy "justification" or "redemption" is up to mom/dad.|
|"There are some in the entertainment industry who maintain that 1) violent programming is harmless because no studies exist that prove a connection between violent entertainment and aggressive behavior in children, and 2) young people know that television, movies, and video games are simply fantasy. Unfortunately, they are wrong on both accounts." And "Viewing violence may lead to real life violence." I applaud these associations for fortifying 1 Cor. 15:33. Read the rest of the story. From our more than eight years of study, I contend that other aberrant behaviors, attitudes, and expressions can be inserted in place of "violence" in that statement. Our Director - Child Psychology Support, a licensed psychologist and certified school psychologist concurs. For example, "Viewing arrogance against fair authority may lead to your kids defying you in real life." Or "Viewing sex may lead to sex in real life." Likewise and especially with impudence, hate and foul language. I further contend that any positive behavior can be inserted in place of "violence" with the same chance or likelihood of being a behavior template for the observer; of being incorporated into the behavior mechanics and/or coping skills of the observer. In choosing your entertainment, please consider carefully the "rest of the story" and our findings.|