One comes, like these Redshirts, as a cultural sightseer to The Leopard, with its palatial grandeur, replete with lavish, painterly images of the bygone glory of the Italian aristocracy: already in their own day semi-mythological figures, as we see in a vignette in which Father Pirrone, tries to explain to the common people the mysterious ways of the nobility: “They live in a world apart, not created by God, but by themselves.”
In a sense every year is a good film year, but some years you have to go further afield than others.
For the second year in a row, my favorite film is a winning love story named for an urban area more or less in my backyard.
The many faces of Jesus at the movies in 2016 were perhaps the most notable trend in a larger pattern of notable religious themes in the year’s films. There were, though, other trends last year worth noting.
I can’t think of another year quite like 2016. To begin with, Jesus himself was on the big screen in an extraordinary number of screen incarnations.
“Some people can’t get over something major that’s happened to them at all,” says filmmaker Kenneth Lonergan says. “Why can’t they have a movie too?”
One of the year’s most critically acclaimed films, Moonlight isn’t easy to watch, but is it worth it? I think it is.
An important story you probably don’t know about, starring Taraji P. Henson, Octavia Spencer and Janelle Monáe as NASA “computers” (really!) during the 1960s space race, when NASA’s Langley Research Center was still segregated.
Martin Scorsese’s Silence is simply one of the year’s most difficult and necessary films.
Chris Pratt and Jennifer Lawrence in space. How bad could it be?
Copyright © 2000– Steven D. Greydanus. All rights reserved.