* * 1/2
MercyMe’s hit single “I Can
Only Imagine” has inspired countless listeners for almost two decades. Subsequently, it is the number 1 Christian song in America There’s that saying
“a blessing in disguise”, which applies perfectly to the scenario, as this seminal
song was the product of years of abuse and despondence from frontman Bart
Millard’s father. This new film, bearing the same name as the song, tells the
story of how Millard’s ballad came to be an anthem among listeners. I highly
doubt this movie will gain MercyMe any new fans or inspire any religious conversions,
it at least possesses a heartbeat that keeps flowing what power the film does have.
Bart Millard (J. Michael Finley)
grew up in an abusive household, the perpetrator being his father Arthur
(Dennis Quaid). In between the violent blows and arguments between his parents
(his mother would eventually leave), Millard finds solace in music – his Walkman
and headphones seem almost inseparable from his being. In high school, he is
discovered to have an exceptional talent in singing. After graduating, he forms
a band and they hit the road with a mission to make it big time. From there,
the rest is Christian rock history, but the path to making such history doesn’t
go without Millard’s inner struggles, unable to cope with his traumatic
childhood, but the band manager Scott (Trace Adkins) has a word of advice -
channel that pain into his art.
Filmmakers, take note: a great
film knows when to walk, when to tip-toe, when to stop, and when to run. I
assure you that people are willing to sit through good movies, no matter how
lengthy they might be.
There is a scene fairly early
in the film when Millard is assigned as assistant sound director for his
school’s chorus. He goes into the empty auditorium, dusts off the equipment,
and gets giddy when he lays his eyes upon the tape deck. He inserts one of his
cassettes and begins jamming. Here is a moment that potentially shows just how
much music means to Millard, but before we get a chance to really take things
in, his teacher interrupts his private jam session and next thing you know, the
next scene is already here.
These pacing issues persist
throughout I Can Only Imagine, which
robs the film of any chance it might have had to become a touching and moving
drama about faith, redemption, and the power of music. Speaking of these
issues, here is the other big problem with the movie. Perhaps it was tackling
more than it could handle, but it has a lot of trouble balancing its themes.
One moment, it wants to be a story of the uplifting power of music, next it
wants to be about the power of faith (for the record, this is not a pious
film), and then it wants to be a story of redemption.
Though the redemption aspect
seems to be the biggest focus (more on that later), the faith and music aspects
are just kind of…there. The film never really delves into how Millard became a
man of faith (let alone a man of as intense faith as he is). Sure, he went to a
week-long bible camp early in the movie, but the setting serves more as a
backdrop for the start of Millard’s relationship with now-wife Shannon
(Madeline Carroll) instead of Millard’s foray into Christianity. The same goes
for his passion for music; the film never really talks exactly about what
artists meant a lot to him in his formative years (save for Amy Grant). The
only effort the movie puts into the importance of music is simply putting a
pair of headphones on Millard’s ears and filling his hands with a Walkman and a
couple of cassettes.
While the overall film may not
be the most moving of dramas, it doesn’t go without some touching moments here
and there. In the road leading to the film’s final stretch, Millard returns
home to confront his father, who he has discovered has turned his life around
for Christ. Though the pacing is still a bit shaky, here is where the film is
at its most powerful just because it realizes that it must slow the pace down,
as well as cut out the sappy music cues and editing techniques – the film just
sits back and lets the drama unfold exactly how it should (if only they’d ditch
the tacky set design).
At least the performances are
good. J. Michael Finley approaches the lead role with a humble everydayness,
making the character enjoyable and quite likeable. You grow to really care
about Millard through his struggles. Trace Adkins is wonderful as a dry comic
relief. Dennis Quaid, however, is a mixed bag: when he’s an abusive tyrant, his
performance is not only cliché but also kind of silly. When he’s stricken with
sadness and regret in the film’s later moments, he’s actually quite good.
Unfortunately, there’s too much of the former, and it takes a long time before
we get to enjoy the latter.
As many criticisms as I give, I Can Only Imagine still has heart and
passion in all the right places, and I don’t dare fault it for that. Non-fans
of MercyMe (Christian music in general, for that matter) can sit I Can Only Imagine out without missing a
thing – I certainly wouldn’t have, but I didn’t mind watching it. As for fans
and the faithful – you won’t be getting the best musician biopic or most
powerful testament to faith through this movie, but it can make a decent
afternoon Sunday outing for youth group.
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