Heaven Is Our Destination Where We Will Be ONE With The Lord Forever

Today, we are in The Season Of The Last Generation. The Birth Pains that Christ Jesus spoke about are currently under way, including natural and unnatural disasters. They will be ever increasing. Because of the increase of wickedness, the love of most will grow cold. Social, economic and political turmoil will be ever increasing, causing people's hearts to be weighed down with dissipation, drunkenness and the anxieties of life. An apostasy within the Church of God is currently under way. This will all reach a climax with Satan revealing his Antichrist and requiring that everyone worship him; That every one receive his "mark" in order to buy or sell; The new currency of the New World Order, the New Tower of Babel.

Today, it is critical that those who have a heart for God are aware of what God is doing and speaking today. God is opening up His Word like never before in preparation for The Time Of The END. I exhort you to open up your heart and your eyes to see what He is doing and your ears to hear what God is speaking at this time. My prayer is that we will be able to stand before the Son of Man at His appearing, without fault and with great joy. I encourage you to read David Wilkerson's book, America's Last Call at davidwilkersontoday.blogspot.com. Also, Google, Tommy Hicks Prophecy, 1961 for a view of the End Times.

Tom's books include: Called By Christ To Be ONE, The Time Of The END, The Season Of The Last Generation, Worship God In Spirit And In Truth, Daniel And The Time Of The END, and Overcoming The Evil One. They are available at amazon.com. They can also be read without cost by clicking on link: Toms Books.

Other publications by Tom at the same link include: You Are Unique In Christ, Demonic Activity Increasing, America: A Nation Of Cowards, LIFE: Knowing The Voice Of God, The Earth Full Of Violence: Christ's Sign, Reality: The Realm Of The Spirit, What Is Detestable To God, America At The Crossroads, Many Are Invited but Few Are Chosen, Christian Beware, The Antichrist of Scripture, The Marks Of A Christian, The Apostasy/Rebellion, Satan's Scheme, The Anointing, The Good News, The Water of LIFE, The World Against Christ, The Commands Of Christ, America's New Civil War, America Is Cursed Because Of Its Abortion Murder, America Unprotected, America's Irreconcilable Differences, Evil Begets Evil, America's War Against Christ, America Is Babylon and IN Christ: There Are No Limitations.

To receive Christ Jesus as a child by faith is the highest human achievement.

Today, the Bride Of Christ is rising up in every nation in the world! Giving Glory to Her Savior and King, Christ Jesus!
Today, the world is Raging against God, Rushing toward Oblivion! Save yourself from this Corrupt Generation!
Today, America is being ground to powder because of it's SIN against God!

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Saturday, July 29, 2017


‘Dunkirk’ Film’s Depiction of Nationhood: A Much Needed Medicine for American Culture

Daniel Davis
 By Daniel Davis | July 28, 2017 | 2:49 PM EDT

British troops escaping from Dunkirk (France, 1940). Screenshot taken from the 1943 United States Army propaganda film Divide and Conquer (Why We Fight #3) directed by Frank Capra and partially based on, news archives, animations, restaged scenes and captured propaganda material from both sides. (Wikimedia Commons Photo)
They were practically kids, and they were sitting ducks.
In the summer of 1940, roughly 400,000 British troops stood stranded on a beach in Dunkirk, France, besieged by an advancing German army and targeted by a swarming German air force.
They had been Western Europe’s best hope for liberation. Now, pushed to the edge of the continent, they stood awaiting their fate: a miraculous rescue, or death.
Few Americans are likely to have heard of Dunkirk in the year 2017. This early episode of World War II history had fallen into relative obscurity, overshadowed by the more celebrated Allied feats at Normandy, the Battle of the Bulge, the liberation of Paris, etc.
But film director Christopher Nolan has now brought it roaring back to life in a vivid recreation on screen. His film “Dunkirk” is a profoundly gripping account of what took place on those French shores 77 years ago—and a powerful testament to the deepest bonds of nationhood.
From the very opening scene in the streets of Dunkirk, Nolan immerses us in a first-person experience that is seldom interrupted through the course of the film. Rifle shots pierce the silence. British soldiers drop like flies. A lone survivor runs for his life and hops a fence.
The British are being hunted, and we feel hunted with them.
Nolan intensifies the sense of confusion and realism by keeping us grounded in the first-person experiences of a few, and by never showing us the enemy.
Except for one momentary sight of German soldiers in the closing scene, the Third Reich remains a faceless enemy throughout the film—true to the soldiers’ experience.
To the British private, the Third Reich was a gunshot from afar, a torpedo from across waters, the deafening screech of a dive bomber lunging toward you as you stood—then ran—on the beach. The enemy is both mysterious and lethal—almost godlike. It is terror inducing.
The film could not have achieved its sensory excellence without the music score written by Hans Zimmer. Throughout the film, Zimmer’s score artfully integrates the sounds of war, creating a seamless blend that fixes the attention.
In some moments that are otherwise still, Zimmer’s pulsating beat pulls the viewer in and refuses to let us rest, putting the audience on edge for the full extent of the film.
The film score is also complemented by stunning visual work, particularly in the aviation scenes. The viewer can’t help but be awed by the skill and grit of World War II pilots, who literally chased each other down in the sky with mere bullets.
The plot of the film consists of three basic subplots that span three different periods of time—the beach, lasting one week; the sea rescue, lasting one day; and an air mission, lasting one hour.
Each subplot runs its own course, and all three meet in one epic climax at the end.
The beach subplot—already mentioned—consists of British soldiers enduring gunfire and bombing raids on the beach in waiting for a sea rescue back to Britain.
The air subplot—arguably the most scintillating to watch—follows two Spitfire pilots as they fly a mission over the English Channel. They engage in various dogfights with German planes along the way, while aiming to protect sea rescue operations happening at the water’s surface.
But the true heart of the film—and of the Dunkirk story itself—is the sea rescue mission, which ultimately results in over 350,000 British troops being saved from capture or death.
This mission is first undertaken by the British navy, which loads several large destroyers with hundreds of British troops. But these ships prove to be too easy a target for German bombers, who are able to sink several of them with relative ease.
It is here that we see true heroism of an unconventional sort on display. With naval efforts falling short, and with oil-soaked British troops jumping ship en masse to avoid drowning in a sinking destroyer, British civilians step in to save their troops.
A flotilla of civilian boats—yachts, pleasure boats, etc.—heads from the British coast into the battle zone, lifting the stranded soldiers to safety and returning them to England.
It is simply extraordinary that this feat was performed. It was, of course, no military victory—as Prime Minister Winston Churchill would note, “wars are not won by evacuations.”
But because of the unconventional heroism of hundreds of British civilians, 350,000 British troops lived to fight another day—and would eventually help win the war as part of the Allied coalition.
The lack of overt military triumph in “Dunkirk” actually serves to highlight a more enduring concept—that of nationhood.
In the modest rescue encounter between an elderly man and a group of young, exhausted foot soldiers, we are reminded of what exactly binds them together. A language. A culture. A history.
In the faces of these men, we see not a random collection of persons who just happen to live on the same piece of land. We see the deep and abiding bond of nationhood. And it is that bond that calls forth extraordinary acts of rescue from ordinary men in boats.
In a day when soulless globalism is the established orthodoxy of the West (save for Brexit and the United States in recent months), Nolan’s depiction of nationhood in “Dunkirk” is a much-needed medicine for our culture.
For that—and for a masterpiece of film—we owe Nolan heartfelt thanks.
Daniel Davis is the commentary editor of The Daily Signal.
Editor's Note: This piece was originally published by The Daily Signal.