The atheists and nonbelievers in The Case for Christ don’t have horns and tails, or even mustaches for twirling.
Asked what he was trying to do in Rules, Renoir is reported to have said, “I don’t care.” With Grand Illusion, it may not be much easier to say what he’s trying to accomplish, but there is no doubt that he cares.
Scarlett Johansson is becoming — no, at this point it’s safe to say she is — the default Hollywood poster girl for transhumanism.
Can a realistically computer-rendered French gilt bronze candelabra be debonair? Jaunty? Rakish, even?
The MutoVerse is ramping up to a Godzilla vs. Kong rematch, and in due course Mothra, Rodan and King Ghidorah will presumably all take turns fighting one another, culminating in something like the airport set piece in Captain America: Civil War, with everyone against everyone else, only with Mutos instead of superheroes.
Linking these three terrific family films is a defiantly old-fashioned, almost countercultural lack of ironic revisionism and gritty edginess. Each of them feels in some way like a kind of movie they don’t make any more — if they ever did.
Stewart gives us a brittle, confused Xavier somewhat akin to his elderly Picard from the series finale of Star Trek: The Next Generation. And Jackman, who has invested even more in Wolverine than Stewart has Xavier, gives his most complex, conflicted performance to date as a battered, weary, despairing warrior longing only for oblivion.
Like many popular sensations, from Titanic to Twilight, from Dan Brown to Lee Child’s Jack Reacher novels, The Shack is easy to rip apart if one has a mind to.
I’m pleased to note that my three top films of 2016 achieved a striking consensus in this group of cinephiles.
The Great Wall is one of those movies that is more interesting for what it portends and the discussion around it than for what is actually onscreen. Not that what is onscreen, in the most literal sense, is bad or uninteresting.
Copyright © 2000– Steven D. Greydanus. All rights reserved.