No film in Miyazaki’s oeuvre haunts me like Spirited Away. One reason is the evocation of a seemingly impenetrable, incalculable world with rhythms and rituals that seem all the more opaque and unnerving because they are routine and transparent to those that are of that world.
I don’t expect animated heroes to have uniformly ideal, harmonious family lives. It’s not realistic — and it doesn’t make for good drama, which needs conflict. The ubiquity of the pattern, though, is striking.
It would be going too far to say that Moana combines everything I enjoy about contemporary Disney with everything I dislike, but it’s got quite a bit of both.
In some ways it warrants comparison with Christopher Nolan’s Interstellar, if only because Arrival achieves much of what I was hoping for from Interstellar.
The fact is, moving from the Harry Potter films to Fantastic Beasts feels a bit like moving from the original Star Wars trilogy to the Star Wars prequels.
In each of their latest films, the battle against a threatening power raises questions about which principles the protagonist should or shouldn’t compromise in order to protect his world — questions that aren’t necessarily clearly answered by the end of the film.
The director and screenwriter spoke at a screening of the film at the New York Archdiocese’s cultural center, and I chatted with Gibson about the film.
Gibson crafts a resolutely traditional exercise in Hollywood mythmaking: a tale of a man who stoically endures accusations of cowardice before being vindicated as the bravest of all, a man of integrity who stands by his unpopular principles regardless of the consequences; a pious man whose sincere faith eventually wins the respect and admiration of his less devout comrades.
Scott Derrickson’s Doctor Strange, starring Benedict Cumberbatch as Marvel’s sorcerer supreme, is a rare action blockbuster — and an even rarer superhero movie — that really ought to be experienced, not only on the big screen, but in 3D — and if possible in IMAX.
The prominent, polyvalent exploration of the uses of religion and especially Scripture, both to condone slavery and to condemn it, to sedate slaves and to inflame them, is one of the most striking and welcome things about the film.
Copyright © 2000– Steven D. Greydanus. All rights reserved.