The more firmly rooted in a sense of time and place a film is, the more revelatory it often is of the present.
If you ever wondered what it might have looked like for Samson to slay 1,000 Philistines with the jawbone of an ass, wonder no more.
Last week controversy erupted over my “Reel Faith” video review of the Best Picture–nominated movie Call Me By Your Name, a gay-themed coming-of-age drama about a same-sex relationship between characters played by Timothée Chalamet and Armie Hammer.
If you didn’t know that the Best Picture–nominated Call Me By Your Name is an uncritically rapturous celebration of a same-sex relationship between an inexperienced youth played by Timothée Chalamet and an experienced man played by Armie Hammer, you might almost guess it from the opening titles, an arty overture for the film that follows.
Is Black Panther the first movie in Disney’s Marvel Cinematic Universe with something in particular on its mind?
I don’t want to review Paddington 2: I want to live in it, and invite you to live in it with me.
American moviegoers aren’t necessarily the most demanding viewers in the world, but it seems we have our limits, if dire movie-ticket sales for 2017 are any indication.
Star Wars: Episode VIII — The Last Jedi is a strange beast: a swashbuckling action movie that is deeply skeptical of derring-do; a middle movie that works better as riff and commentary on the original source material than as a sequel to its immediate predecessor.
I’m tempted to say I’d like to see the version of Coco Pixar would have made 10 years ago. Not really, I guess, since then we wouldn’t have Ratatouille. Still, I can’t help wondering what the team that made Ratatouille might have done with Coco.
It’s a little like The Nativity Story meets The Secret Life of Pets, which probably sounds like a winning formula to some people.
Copyright © 2000– Steven D. Greydanus. All rights reserved.