Road to salvation
"For all have sinned and fall short of the glory of God "
What is sin: Sin is anything we think or do that falls short of God's standard of perfection.
"For the wages of sin is death"
What is the penalty: It's easiest to see sin as committing a crime against God. The penalty for which is death and then the judgement.
Remember a just God must punish sin. It would not be justice to let a criminal go unpunished.
"But God demonstrates His own love toward us, in that while
we were still sinners, Christ died for us."
Who pays the price: You do! but there is an alternative- Jesus' death paid for the price of our sins.
that God accepted Jesus' death as the payment for our sins.
"if you confess with your mouth Jesus as Lord, and believe in your
heart that God raised Him from the dead, you will be saved."
How can I be saved from the penalty of my sin: Because of Jesus' death on our behalf,
(He paid the price for our sin, He took our punishment )
All we have to do is believe in
Him, repent for your sins and trust in His death as the payment for those sins - and you will be
Now remember salvation is not a one way street. Jesus gave His life for your salvation, You have been bought with a price,
You are no longer your own. You have entered into a relationship with Jesus Christ
The only way to have a solid relationship with someone is to talk to each other.
Prayer is conversation between you and God. So start praying regularly and read your Bible.
(If you don't have a Bible contact us and we will send you one)
Now find a good Bible believing, Bible preaching church (If you're in the area, this one would be a good place to start)
If you have decided to accept Christ into your life or if you still have questions please contact us !
Christian Movie Reviews
Review: Mr. Peabody and Sherman
Our resident kid critics take on the story of a dog and his boy.
Directed By: Rob Minkoff
Run Time: 1 hour 32 minutes
Cast: Ty Burrell, Max Charles, Lauri Fraser, Guillaume Aretos
Theatre Release:March 07, 2014 by Dreamworks Animation
Editor's Note: To review the latest animated film marketed at families, I called in the resident experts again—four kids who like to watch and talk about movies. What follows is their take, with some notes from their parents.
Mr. Peabody is a dog unlike any other dog. He's an inventor and a genius. He has an adopted human son, Sherman, whom he found abandoned as a baby in a box.
Mr. Peabody went before a judge to adopt Sherman because he wanted to give him the home that he never had as a puppy. Though he is a dog, Mr. Peabody is a caring and very protective father who leads the two of them on many adventures in the time machine—the WABAC—learning history first-hand.
Sherman is a smart, friendly seven year old living with Mr. Peabody in a penthouse over Central Park. The story begins on Sherman's first day of school. He fights at lunch with a bold, bratty, and blonde girl named Penny because she calls him a dog. She was insulting both him and Mr. Peabody with this remark.
After the fight that ends in bite, the school's social worker, Ms. Grunion, threatens to take Sherman away from Mr. Peabody. He's a dog—he couldn't possibly be a good father to a human.
Mr. Peabody invites Penny, her parents, and Ms. Grunion the social worker to dinner to take care of the problem. During the evening, Mr. Peabody tells Sherman to get along with Penny and not to show her the WABAC. Penny manipulates Sherman into disobeying his father and he takes her to Ancient Egypt in the WABAC.
Sherman quickly realizes he needs Mr. Peabody's help, so he returns to present day to get his father. They end up going back to rescue Penny, only to set off a on a series of adventures through time. ...
Review: The Wind Rises
Miyazaki's farewell film is above all an elegy for the impermanence of beauty, art, love, and ultimately life itself.
Genre:Animated, Biography, Drama, Romance
Directed By: Hayao Miyazaki
Run Time: 2 hours 6 minutes
Cast: Joseph Gordon-Levitt, John Krasinski, Emily Blunt, Martin Short
Theatre Release:July 20, 2013 by Touchstone Pictures
"Le vent se lève! . . . Il faut tenter de vivre!" ("The wind is rising! . . . We must try to live!")
This quote from Paul Valéry's poem "Le Cimetière marin" opens and is repeated throughout Hayao Miyazaki's The Wind Rises, a gorgeous and existentially contemplative film recently nominated for the best animated film Oscar (it lost to Frozen).
Miyazaki—a legendary Japanese filmmaker/animator (Spirited Away, Howl's Moving Castle)—is in the twilight of his career, and The Wind Rises is an appropriately epic, stately, and somber capstone to his six decades of acclaimed work. Its pace is more Ozu than Lego Movie, and its subject matter (building Japanese war planes in the years leading up to World War II) is hardly typical of the animated genre, but The Wind Rises is a masterful film. It deserves a wide audience.
The anime film is a fictionalized biography of aeronautical engineer Jiro Horikoshi, who helped design and develop the planes that would be used by Japan in World War II. We see Jiro as a boy who dreams of flying planes but, due to poor eyesight, settles on the dream of building planes. He goes to college for it and quickly becomes the engineering prodigy of his country's developing aviation industry.
Jiro (voiced in the English-dubbed version by Joseph Gordon-Levitt) may be a nerdy engineer, but Miyazaki portrays him as an artist. His canvas is the sky and his paintbrush is the slide rule. The film's tension comes from an artist trying to do what he loves within the constraints of industry and practical life—in this case, a growing military industrial complex forking over huge amounts of money for planes designed to be ...
Review: Veronica Mars
A long time ago, we used to be friends . . .
Directed By: Rob Thomas
Run Time: 1 hour 50 minutes
Cast: Kristen Bell, James Franco, Tina Majorino, Krysten Ritter
Theatre Release:March 14, 2014 by Warner Bros.
Veronica Mars never went toe-to-toe with Buffy Summers. If anything, the success of Buffy the Vampire Slayer (1997-2003) paved the way for shows like Alias (2001-2006) and Veronica Mars (2004-2007), each featuring young, female protagonists in jobs more frequently filled by men. So Veronica wasn't the first of her kind, but I always thought she was the best.
Turns out I wasn't the only one.
Writer and director Rob Thomas perfectly articulated Veronica's distinctiveness to the audience at the film's SXSW premiere. Buffy and Sydney (Bristow of Alias) could literally beat up the bad guys, but Veronica's "superpower," he thought, should be that she learned not to define herself by what a guy thought of her outfit. (Thomas put it a bit more bluntly, saying it was that she just "didn't give a s---.")
Thomas taught high school for several years and served as a yearbook adviser, crediting that experience as a crash course in how teenaged girls act and talk. He also noted that high school is a time when everyone is painfully self-conscious.
I have always thought it was Thomas's and Bell's willingness to have Veronica channel that self-consciousness into self-examination that raised the show above the level of melodrama. Because Veronica started as a member of the popular clique, her critique of teen culture included a strain of self-examination, even self-indictment. The show was not just about navigating the rigged systems of class and status. It was about trying to forge an alternative to those things, about creating an identity that wasn't based on them and would preserve the shards of self-respect and self-esteem that class privilege and social hierarchies grind ...
Review: The Grand Budapest Hotel
Wes Anderson's latest is a feat of filmmaking, a formally-interesting movie that's also deeply meaningful.
Directed By: Wes Anderson
Run Time: 1 hour 39 minutes
Cast: Ralph Fiennes, F. Murray Abraham, Mathieu Amalric, Adrien Brody
Theatre Release:March 06, 2014 by Fox Searchlight Pictures
Wes Anderson's The Grand Budapest Hotel is a joy to watch.
There's probably other, better opening review paragraphs that would give you context into how the movie was made, and plug it into some sort of higher-order chronology of Anderson's filmography (which has now officially tipped over into "prolific").
But actually watching the movie trumps all those concerns, especially with Grand Budapest—precisely because this is perhaps the most narratively involuted film that Anderson has crafted to date.
I'll try and present this as clearly as possible: the film opens with a girl reading a book, titled The Grand Budapest Hotel (Layer 1). TGBH is, within the universe of the film, a book written by the unnamed Author, played by Tom Wilkinson (Layer 2). Tom Wilkinson then recounts his visit as a young man to the bi-eponymous Grand Budapest Hotel, his younger self portrayed by Jude Law—this is Layer 3. Jude Law's character encounters the notoriously mysterious Mr. Mustafa (F. Murray Abraham), who then recounts to Law how he came to run the hotel—back when he was known only as Zero (Tony Revolori), and worked for the concierge-savant Mr. Gustave (Ralph Finnes)—Layer 4.
Generally, the more "meta" a narrative is—that is, the more layered, convoluted, self-aware of its own fictitiousness—the more self-indulgent the movie seems. But Grand Budapest is none of those things. It's somehow relentlessly clear (somehow the above paragraph makes much more intuitive sense when you watch the movie, not less), beautifully stylized, wonderfully executed. It's hard to explain in non-hyperbolic terms why this is such an achievement.
Perhaps the clearest ...