Are manmade things ever worth dying for? How do you weigh the value of art or artifacts against the value of human life? On the one hand, human life is sacred; things are just things. On the other, the cultural heritage of a people is an irreplaceable treasure that belongs not only to the whole community, but to all future generations.
In another movie, a line like “We are not things” could be a platitude, but in the context of vividly imagined atrocities with unnerving echoes of recent headlines, this simple affirmation is fraught with topical power that has only grown in the months since the film’s theatrical debut.
For the Aardman filmmakers, it seems that inspiration and the tactile work of stop-motion go hand in hand.
One much-noted point about the BBC list is how few Academy Award Best Picture winners made the list. Naturally, I’m interested in a different comparison: How does the BBC list compare to the 1995 Vatican film list?
I recently rewatched Fruitvale Station (2013), first-time director Ryan Coogler’s shattering Sundance winner, with my oldest son, who has since gotten his driver’s license. Some day he will face that inevitable first traffic stop, and I want him to be aware just how different that encounter will be for him, with his bleached complexion and shining towheaded crown, than for many young men in the minority neighborhoods all around us.
Alex Garland’s Ex Machina is the latest in a string of recent science-fiction films exploring questions around artificial intelligence, transhumanism and the role of technology in our lives.
As a Catholic film critic, one of the top questions I get from parents during the summer months — right after “What’s good in theaters in this summer?” — is “Do you know anyone who does what you do, but for television?”
Only Pixar regularly impresses on viewers that just because you’re the hero of your story doesn’t mean you’re right about everything: that you may make serious mistakes, there may be consequences, and you must take responsibility.
“The earth, our home, is beginning to look more and more like an immense pile of filth,” Pope Francis writes. “In many parts of the planet, the elderly lament that once beautiful landscapes are now covered with rubbish” (LS 21). From the outset Wall-E looks as if it had been created with these words in mind, projecting them into a dystopian future in which rubbish has expanded to cover the entire planet, even surrounding the Earth in a halo of space debris.
Sir Christopher Lee, who died on June 7 at the age of 93, had an extraordinary career and an extraordinary life. To speak only of his film work, while it’s impossible to sum up his incredibly prolific and varied output — IMDb.com credits him with more than 280 acting roles over a nearly 70-year career — Lee’s lean, towering build (he stood five inches over six feet) and sonorous baritone voice were well suited to playing villains and monsters.
You could almost watch Bicycle Thieves and Roman Holiday back to back and never realize they were shot in the same city only five years apart.
The recent beatification of Óscar Romero, Archbishop of San Salvador from 1977 until his assassination in 1980, has drawn new attention to the gap between public perception and reality regarding this popular but controverted figure in El Salvador’s turbulent history. For those interested in beginning to understand who Blessed Archbishop Romero really was, the Christopher Award–winning 1989 film Romero, starring Raúl Juliá, isn’t a bad place to start.
Few filmmakers working in Hollywood today enjoy so sterling a reputation as Bird. Although Tomorrowland is only his fifth feature film, and only his second in live action, his achievements in his first four films are extraordinary.
My favorite cinematic depiction of the Ascension of Jesus is one of the very first, from a very early silent film released 110 years ago.
Long after other Best Picture nominees of 2014 have been forgotten, Ava DuVernay’s Selma, starring David Oyelowo as Dr. Martin Luther King, Jr., will still be watched, appreciated and talked about.
Last year’s Interstellar and the previous year’s Gravity follow different paths in a long tradition of asking ultimate questions against the biggest canvas available to our senses, the universe itself.
New this week from the Criterion Collection are the Blu-ray debuts of a pair of classic films from the 1940s — each arguably its director’s masterpiece, and one of two films for which the director is best known.
Mirroring its populist tale pitting a devout young undergraduate against Kevin Sorbo’s hostile philosophy professor, the faith-based hit indie God’s Not Dead sharply divided enthusiastic faith audiences and scoffing critics.
There are good reasons for introducing parent-child conflict into family films, depriving child protagonists of a parental safety net, depicting single-parent households, etc. There’s no good reason positive depictions of healthy, intact families in family films should be an endangered species.
Of the two, Noah was by far the more divisive, with its startling fantasy trappings, alarming family conflict and invented antagonist. Many hated it; I loved it. No film last year inspired me to think or write more than Noah. By contrast, while Exodus: Gods and Kings sticks closer to the broad outlines of the biblical story and includes some provocative ideas, I found it generally less interesting and engaging.
Copyright © 2000– Steven D. Greydanus. All rights reserved.