“What does God need with a starship?” That line, uttered by William Shatner’s Capt. James T. Kirk in the much-derided Star Trek V: The Final Frontier (1989) — co-written and directed by Shatner himself — is probably that film’s most famous (or infamous) moment.
Jenny will do a lot of listening in the drama that follows. First, though, will come a moment when she does not listen — the only time in the film she ignores a bid for her attention, but that one time hangs over the rest of the film.
It has been jokingly suggested that all Americans are Protestants — even Catholics, atheists and Jews. There’s a meaningful insight there, although even as a joke it’s an overstatement, and insular communities like the Hasidim manage to resist American cultural identity far more than most. Menashe is different, though I wouldn’t want to suggest that he is a Protestant Hasid. It would be fair to say he’s a bit of a resister or nonconformist, if not quite a rebel.
All Saints opens with the most familiar of pious Hollywood setups, the clergyman tasked with saving a threatened church (school, orphanage, etc.). Then something unexpected and kind of wonderful happens.
Kathryn Bigelow’s Detroit has an important story to tell, but what story is it?
At the heart of A Ghost Story is an audacious visual metaphor. Like many effective metaphors, it is so straightforwardly literal and even absurd that there is no questioning or cross-examining it; like Kafka’s cockroach, or like the pie scene, it challenges you either to shake your head and turn away, or else to take the plunge.
Dunkirk is the first film Christopher Nolan has made that feels bigger than the director’s preoccupations and obsessions.
Too often I find myself in the melancholy position of trying to articulate why a movie I ought to like doesn’t work for me. War for the Planet of the Apes poses the opposite challenge: This is a film that, on paper, ought to leave me cold, but instead seared into my mind like a house on fire.
No one almost destroys the universe or the planet, or even demolishes a large European city or a sizable chunk of a New York borough, in Jon Watts’ Spider-Man: Homecoming.
To call Despicable Me 3 desperate would be to ascribe too much effort and passion to the thing. Ice Age: Collision Course, now: There was a properly desperate sequel.
Copyright © 2000– Steven D. Greydanus. All rights reserved.