It's refreshing to watch a movie where a good God intervenes in daily life. This is a silent God, a barely visible bearded Jesus, but he has ever-watchful eyes on [Henry Poole]'s backyard dissipation: his drunken lounging and irritated conversations with neighbours. This is also a stubborn God who when sprayed with a garden hose only reappears stronger. And much to Poole's dismay, this God seems to heal people of real physical and emotional problems.[Salazar]'s focus is true for all of Henry Poole; since the apparition is believable early on, curiosity about Poole's personal development propels the movie. The stakes are thus lowered from big questions about faith (does the Christian God exist? What does he communicate through apparitions?) to questions about Poole's mysterious past, and his future with the pretty single mother next door. The audience is challenged to wonder, will Poole work through his pain and join the community?When redemption comes to this setting of Henry Poole, it feels cheap. The suffering is light and the healing predictable, even for a comedy. The movie seems afraid to venture deeper and explore the kind of redemption that Christians know is possible: deep suffering can be overcome victoriously through Christ's power. As a result, Henry Poole's message on faith is washed out and hard to read, like that stucco water'stain that sort of looks like Jesus.
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