Please note: The following text contains spoilers
 
“Let me ask you guys a question. What if there were no tomorrow?”
 
Time loops. Time vortexes. Time warps… We’re obsessed with the manner
in which time, as a way to measure our existence, functions, malfunctions
or can be manipulated - especially for the purposes of Sci-Fi. Take About Time
for example, a romantic comedy which is primarily concerned with utilising
time travel, to write the (sometimes very embarrassing) wrongs of our lives.
Or The Terminator, in which a cyborg is tasked with changing the future,
by literally killing the past. In either case, each film leads with a what-if
scenario explored to its full, mind-bending potential. Groundhog Day
(the godfather of time-loop movies) is no different in that regard, but it
also manages to transcend the perceived limits of the comedy genre,
in providing us with thought-provoking questions about the very purpose
​of humanity’s existence - all within a brisk, 100-minute window.

​In essence, this is a redemption story in which the self-centred, cynical weatherman Phil Connors (Bill Murray, at his deadpan comic best), is inexplicably forced to relive the film’s titular, mind-numbing day, over and over, when he’s caught in a never-ending time loop. For Phil, this is (initially) a fate worse than death - especially since he can’t stand being trapped with the small-town “hicks” of Punxsutawney, Pennsylvania. Despite being incarcerated, however, Phil realises that there are benefits to even a dire situation such as this. Namely, he discovers that if there isn’t a tomorrow, there are no consequences for his actions, and he can do whatever he pleases. Naturally, Phil does it all - from robbing a bank, to binge-eating, to pursuing countless one-night stands... And yet, these delights leave him feeling empty, dissatisfied with his existence, and driven to suicide - the latter of which hilariously does nothing to break the time loop, regardless of the countless, ridiculous methods he employs. Instead, his state of brokenness reveals that every indulgence is in fact worthless and a complete waste of the time given to him. The Bible also regards such activities as being pointless, most notably when the writer of Ecclesiastes remarks upon life’s indulgences: 

​“Anything I wanted, I got. I did not deny myself any pleasure. I was proud of everything I had worked for, and all this was my reward. Then I thought about all that I had done and how hard I had worked doing it, and I realized that it didn't mean a thing. It was like chasing the wind — of no use at all…”
​(Ecclesiastes 2:10-12, GNT) 

Without knowing it, Phil comes to understand the biblical concept that to live a self-centred life is completely meaningless and ultimately unsatisfying. So, he decides to try something other than living for himself, in attempting to care for and treat fairly, those around him. It doesn’t necessarily come easy for Phil - people are forever ungrateful or blissfully unaware of his ‘good deeds’. And yet, his determinedly ‘good’ behaviour reflects a desire to live righteously, especially when he embodies many principles of the Kingdom of God - in choosing selflessness over selfishness, for instance. Without knowing it, Phil does indeed seek the attributes of the “Kingdom of God above all else” (Matthew 6:33, NLT), when he chooses to dedicate his time loop to no longer “chasing the wind”.

​And yet for Phil, he still seems lost. He carries out every good deed on his time-loop checklist, but still wanders aimlessly through the streets. Is he carrying out these good deeds from a sense of duty? Or because he knows it’s the right thing to do now? It certainly seems that way. For whilst Phil knows exactly what he should do with his life, there is still no driving force behind it. He has no reason to continue doing good, because tomorrow is exactly the same. However, he begins to develop feelings for his producer Rita (Andie MacDowell), who notices that Phil has undergone a transformation, of sorts, when they begin spending time really getting to know each other. Phil’s attraction to Rita soon becomes sincere and he seeks to honour her as best he can, rather than be his cold, cynical self. In truly getting to know Rita, seeing her as a valuable person who has worth, Phil chooses to undergo a transformation of the heart. He no longer does anything out of a sense of duty but serves others because he genuinely has love for them. And that is what ultimately breaks the time loop, sending him back into reality as a changed man. 
​ 

​​The Bible teaches that for all of our good works, we can’t do anything to erase the problem of sin in our life and, just like Phil, the dissatisfaction that comes with even dedicating our entire lives to ‘goodness’. No matter what we do, “everyone has (still) sinned and is far away from God's saving presence” (Romans 3:23, GNT). The only way to be truly freed from a place of brokenness then, is to find purpose for our lives and be saved from eternal death. But in order to do that, we have to recognise what Jesus did for us in dying on the cross and rising again, accepting Jesus as our Lord and Saviour - the only One who can save us. For ‘doing good’ on its own is never a solution for the problem of sin (those deliberate choices to ignore God and do wrong in His sight). God doesn’t call us to be ‘good people’, He calls us to be His own - a people who then out of their love for Him, choose to walk in goodness and righteousness as a result of experiencing His love for us, which we will then want to share with others. In turning from our sins and trusting in Jesus’ promise of salvation, we are no longer left chasing after the wind. Rather, we will be liberated from our dark ways of living (set free from our own loop, if you will), and brought into new life with God here, but also in eternal life with Him when we die. For with God, there is always a brighter tomorrow.    

​Challenge: 

• Why not prayerfully invite a friend or family member who doesn’t yet know Jesus, to watch Groundhog Day for themselves? Use the film’s themes to ask them what they thought of the film, if they spotted any links to Christianity and what they might think of the Gospel’s response to this subject. 

• If you feel able to, ask them if they’ve ever yearned for something more in life and where they might find true fulfilment. You could then ask them what they think about God’s response to ‘having it all’ would be, and if they're open to hearing it, take an opportunity to share the hope of the Gospel message with them. 

Prior to watching the film for yourself, however, take a moment to pray that God would speak to you through the film. If you feel comfortable, pray this prayer over all of your future, film-watching experiences: 
​
Dear Lord, As I watch this film, I ask that you would be present here with me. Highlight to me anything within it that is honourable, anything that can be used in conversation for your Kingdom purposes. Amen. ​ 
 
Groundhog Day is now available to stream on Netflix (UK), or purchase on DVD & Blu-Ray
​

Please note: The following text contains spoilers

“…that's what the present is. It's a little unsatisfying
because life's a little unsatisfying.”

If you happen to be an Owen Wilson devotee, you most likely will have
noticed that his characters’ favourite word in the English language, appears to 
be “wow”. Spoken over one hundred times throughout his filmography, 
there have been many moments deserving of the ‘wow’ treatment, but none
seem more fitting than those within Woody Allen’s Midnight in Paris -
the writer/director’s 41st film. For Paris is a rare, perceptive comedy, one
which primarily deals in the recurring themes of Allen’s earlier, critically
lauded work, but adds something unexpected, fresh and invigorating into
the artist’s seasoned mix: time travel (of sorts).

The story follows the Parisian-set travels of Gil (Wilson) and Inez
(Rachel McAdams), a successful Hollywood-based couple who are teetering on
the edge of romantic trouble, within their idyllic paradise. For in attempting to write his first novel, Gil falls madly in love with the city, wanting nothing more than to walk the streets that were once populated by his artistic idols of the 1920s. Inez couldn’t think of anything more tedious and actively chooses not to embrace Gil’s love affair with Paris. One night, however, when Gil is forced to take a midnight stroll without Inez, a stunning 1920s vehicle pulls up alongside him, and its passengers invite him to join them at a party. Bemused, but delighted, Gil eagerly climbs aboard and – unbeknownst to him – is transported back in time to Paris, of the roaring twenties…

On the surface, this is another of Allen’s more fanciful films, complete with a gripping premise and his trademark sophisticated wit. But as we probe deeper into the film and its message, we find that it isn’t just content with experimenting in the realm of low-fi, Sci-Fi. Rather, Midnight in Paris is more concerned with the pleasing allure, but
very real danger of nostalgia, and how we as humans sometimes yearn for a rose-tinted view of a ‘golden age’. Take Gil, for example - he looks upon 1920s Paris as being his idea of a ‘golden age’, and is swept up in the seemingly never-ending parties and intellectual discussions with Ernest Hemmingway et al. But there comes a point in which Gil realises that this life he so yearns for (including a relationship with the beguiling Adriana, played by Marion Cotillard), is completely unattainable.
​
When Adriana reveals that she in fact longs for the 1890s and not her present (the 1920s), Gil finally understands that people, by and large, will always desire a ‘better time’ if they are not able to be content with their present. Sometimes, to experience feelings of satisfaction once more, people will often become drawn to their past. So, whilst Gil might be unsatisfied with his experience of the present, this sudden epiphany however, shakes him free from a trance-like state. It releases him to understand that he should try to find satisfaction in his present life, not a by-gone era, as well as looking forward to the future.
​
Looking back on the film, Gil’s realisation could be interpreted as a simplistic ‘live-for-today’ ideal, but I would argue that the film’s overall message has stronger ties to that of the Bible’s view of nostalgia, than immediately apparent. For example, the film ultimately believes that to yearn after another time is foolish, just as it says in Ecclesiastes, where the author warns against allowing nostalgia to alter your mindset: 

“Don’t ask, “Why was life better in the ‘good old days’?”
It is not wise to ask such questions.”
(Ecclesiastes 7:10, ICB)

​The film understands clearly, then, that by looking favourably upon the past and yearning for it, we are blinded and unable to see the many issues and constraints of not only that specific time period, but also those that come with our past selves. For the Bible teaches that for all of the perceived ‘good’ that we did or experienced in the past, we must acknowledge that we were and are not, perfect people. Rather, “everyone has sinned” (Romans 3:23, NLT) and we ourselves have not lived a life that reflects God’s standards. However, the Bible also encourages us to draw close to God, for He alone has made a way for us to experience fulness of life in the present, with Him. It was through His Son Jesus, who destroyed the power of all our mistakes when He died on the cross, and was resurrected three days later, who made a way for us to live in relationship with God, today and forever. He himself even declared, "I have come in order that you might have life — life in all its fullness" (John 10:10, GNT).

For Christians, therefore, the past is not a time we should yearn
for, or attempt to return to/replicate. Rather, it is only by living
in the present with God at the centre of our lives, that we are
able to be saved from the consequences of our sin (both now
and eternally) and experience true fulness of life, in
relationship with God. If we choose to acknowledge what Christ
has done for humanity in dying on the Cross to save you and
me, we need to actively turn from our past mistakes
and towards God’s Way. Then we won’t ever need to look back
at our past or yearn for another time. For when we commit
our lives to Him, trusting His promise to save, we need only look forward - towards His goodness that is available to us all, this day, and our eternal salvation.  For the future with God is bright and it will give
us everything we need to be fulfilled, whilst living in the past will rob us of fulness of life here, and in eternity. 

“Therefore, if anyone is in Christ, he is a new creation.
The old has passed away; behold, the new has come.”
(2 Corinthians 5:17, ESV)

Challenge: Why not prayerfully invite a friend or family member who doesn’t yet know Jesus, to watch Midnight in Paris for themselves. Then, using the themes discussed above, be bold and ask them what they might have thought of the film, if they spotted any links to Christianity and what they might think of the Gospel’s response to this subject. Why not ask them what things could be stopping them and us from experiencing fulness of life in the present? You could then ask them if they knew of God’s response to this and, if they're open to hearing it, take an opportunity to share the hope of the Gospel message with them. 
 
Prior to watching the film for yourself, however, why not pray for God to speak to you throughout the film and if you feel comfortable, pray this prayer over this and all of your future, film-watching experiences:
 
Dear Lord,
As I watch this film, I ask that you would be present here with me. Highlight to me anything within it that is honourable, anything that can be used in conversation for your Kingdom purposes. Amen. ​
 
Midnight in Paris is now available to stream on Netflix (UK)