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Perhaps the popularity of these life-affirming films indicates a more general cultural longing for life, in the midst of a world that is increasingly cavalier in its cheap treatment of it.  It is interesting that these films come at a time when the "death-affirming" exploits of new horror genres are beginning to wear out their welcome. Not long ago, the Saw and Hostel brands of nihilistic "bloodporn" were turning huge profits; but recently, with the financial failure of Eli Roth's torture-happy Hostel 2 and the fetishized gore of Grindhouse not winning over audiences, viewers may be tiring of the cheap, exploitative treatment of something so valuable as a human life.

I hesitate to make a causal connection here, because certainly the filmmakers behind Waitress, Knocked Up, and Bella had no idea that audiences would soon grow weary of Hostel-ian bloodporn—or that the audience might be longing for something more positive. But I do believe we can characterize cinema—at least in terms of the audience's reception—to some extent as something cyclical, always swinging between various extremes.

Perhaps, then, we are now entering a cycle of positive cinema—if not "pro-life" than certainly "life affirming." And whatever the reason—and however it plays out in political or cultural arenas—we should be glad for these films, which shine the incomparably illuminating light of cinema on the holy and sanctified gift of human life.

© Brett McCracken 2007, subject to licensing agreement with Christianity Today International. All rights reserved. Click for reprint information.

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