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.
Even features come with trade-offs, and the Marvelization of Star Wars is no exception. This might not be as clear in The Force Awakens — about as pure a work of nostalgia and homage as can possibly be contrived short of a shot-for-shot remake — as it is in Rogue One, where the Marvel-style engineering is more obvious.
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.
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.
As a seminarian in the 1940s, the future Pope St. John Paul II wrote a play about a Polish artist turned religious who helped inspire his vocation. In 1997, a film adaptation featuring Christoph Waltz was directed by Krzysztof Zanussi (Life for Life).
Krzysztof Zanussi on Our God’s Brother, Adam Chmielowski, Pope John Paul II, and how he discovered Christoph Waltz.
The pitfalls of human nature being what they are, to dwell excessively on negative thoughts and preoccupations — to give free rein to outrage, anger, fear, antipathy, and, all too easily, hatred — is a constant temptation. (It’s a special hazard during election seasons, but the problem is perennial.) That which is dishonorable, unjust, impure, and worthy of condemnation drowns out what is honorable, just, pure, and worthy of praise.
None of this is to say that Inside Out doesn’t present a lopsided view of the place of emotions in human nature. It does. Most if not all stories, even great ones, are lopsided in some respect or other.
Here is a sobering question: Has there been a single substantial, positive depiction of Catholic faith or identity in a major Hollywood non-horror film in the last 10 or 15 years?
One area of representation is disproportionately ignored: how Hollywood deals with religious belief and identity.
This may be the first movie I’ve ever seen where I got more out of reading the Wikipedia entry afterwards.
In the face of the latest crushing evidence of man’s inhumanity to man, the Top 25 Films on Mercy remind us that the way it too often is isn’t the whole story, or the way it has to be.
For 15 astonishing years, from 1995 to 2009, Pixar created a body of work — 10 films — so revolutionary and beyond mainstream Hollywood animation that it’s hard to quantify … In recent years, alas, Pixar has stumbled more often than not.
Whether one sees The Revenant as a spiritually rich, profound meditation on good and evil or an overwrought attempt to transmogrify atrocity into transcendence, Christians should recognize that when it comes to media depictions of violence, there are two potential dangers, not just one.
The modern era of superhero movies was arguably inaugurated by two films: Bryan Singer’s 2000 X-Men and Jon Favreau’s 2008 Iron Man.
He’s been called “the WASP Woody Allen,” but I prefer my friend Ron Reed’s moniker for Whit Stillman: “the Jane Austen of indie film.”
But the Crucifixion was not only on Calvary, and if Christ is on the waterfront, he can also be found in a medieval prison cell, a cheap, penny-ante building and loan in a crummy little town, a Russian shtetl (a small Jewish town in Eastern Europe), a Belgian trailer park, or the slaves’ quarters of a 19th-century Louisiana plantation.
Clearly Horton can be called a “pro-life” hero in a broad sense, and even in a sense that resonates in some striking ways with the pro-life cause. And his isn’t the only animated adventure with pro-life resonances.
Why has Catholic response to Spotlight been so positive? One key reason is the film’s shrewd choice of point of view.
Copyright © 2000– Steven D. Greydanus. All rights reserved.