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.
The ongoing cultural influence of the “Star Trek” phenomenon is incalculable, and Leonard Nimoy’s contributions are an immense part of that. Nimoy wasn’t just an actor doing a job; in a real sense he was a co-creator who helped to define his character in many ways.
With a new Blu-ray edition of The Voyage of the Dawn Treader available March 3, here’s a look back at the series so far … and a look ahead.
Want to know the truth behind the “Devil’s Bible”? Or the Dead Sea Scrolls? How about one of the Old Testament’s two famous arks? Curious about UFOs, Bigfoot or the Bermuda Triangle?
“Bless me, Father, for I have sinned,” says Matt Murdock, the blind lawyer turned masked hero in the first line of the new trailer for Netflix’s upcoming Marvel Comics superhero series “Daredevil.”
No Jane Austen or Shakespeare. No Hepburn or Cary Grant, Meg Ryan or Tom Hanks. No Say Anything or Jerry Maguire, no City Lights or Sunrise: A Song of Two Humans. Nothing against any of the above, but you don’t need me to tout them. Instead, here are ten films you might not find on other lists of movie romances.
Return to Me has an easygoing Catholic vibe akin, but not identical, to Golden Age Hollywood piety; in fact, the movie blends nostalgia and irreverence for the Catholic Hollywood of Bing Crosby’s era.
Among a few Disney films deserving of the title “masterpiece,” Fantasia remains a unique achievement.
The quest for justice and harmony echoed through the best films of 2014, playing out in various arenas: social, domestic and spiritual.
Woody Allen keeps telling us God is dead, but he also keeps compulsively burying him.
By mid-year I would have predicted that Mendoza would surely prove to be the best big-screen priest of 2014 — but Brendan Gleeson’s Rev. Lavelle in John Michael McDonagh’s Calvary proved me wrong.
What can Catholics do to keep things Christmasy until mid-January? Among other things, I suggest keeping the tree and the lights lit until at least January 6, if not the following Sunday — and saving the Christmas movies till after Christmas day.
“What are your favorite Christmas movies?” As a Catholic film critic, I get this question several times every December, often on the air or via social media. The question, alas, touches on a sore subject for me.
Changes like these are sadly typical of the Hobbit prequel trilogy, which is far cruder and less sensitive to the charm and beauty of its source material than the Lord of the Rings films were. As bad as Christopher Tolkien’s fears in 2012 about The Hobbit films might have been, the reality is worse.
It’s a movie with many problems, like most of Scott’s recent epics (Prometheus, Robin Hood, Kingdom of Heaven), but Scott has a better story to work with here and adds something of value to the world of Bible cinema.
Ridley Scott’s Exodus: Gods and Kings (in theaters Dec. 12) is the year’s second major Old Testament epic from a director who is not a believer — but don’t get Scott started on Noah’s rock-monster Watchers.
Copyright © 2000– Steven D. Greydanus. All rights reserved.