New Orleans’ legendary Mardi Gras celebration has been depicted or used as a backdrop in scores of films, though surprisingly few depictions are of any great or enduring note.
Six years ago I put together a list of movie recommendations for Lenten viewing, six titles for the six weeks of Lent. This year, for the Year of Mercy, here’s a new list: one that puts particular emphasis on mercy, charity, and active concern for one’s neighbor.
23 years ago I had the privilege of catching Walt Disney’s Snow White and the Seven Dwarfs in theatrical re-release. At the time I was acutely aware what a privilege it was, because about five years earlier, in a history of animation class at the School of Visual Arts, I had written a research paper about that very film, and in those days there was no easy way for me to actually watch the film I was writing about!
Two of this year’s eight best picture Academy Award nominees, Spotlight and Brooklyn, present dramatically different depictions of Catholic clergy — though neither gives a clerical character more than a few minutes of screentime.
43 years after Roe vs. Wade, Americans remain about as deeply conflicted over abortion as ever… The nation’s divided conscience on this subject is reflected on the screen.
This week the world lost three English performers who were all film actors … Bedford’s best-known film role was in Disney’s animated Robin Hood, in which he voiced the legendary outlaw. Rickman, who died the next day, had played the Sheriff of Nottingham in Robin Hood: Prince of Thieves, starring Kevin Costner. David Bowie, alas, never made a Robin Hood movie.
The most celebrated films in any given year are often laced with dark or harrowing themes, and 2015 was no exception… There were also films with uplifting themes, though it’s possible they were harder to find than in past years. In part for that very reason, I treasured them more.
Lee has called Malcolm X the movie he was born to make; in some respects it may be the role Washington was born to play.
There are at least a half dozen reasons “Phineas and Ferb” never should have existed, and how fortunate for viewers of all ages that it does.
Is the Star Wars mythos Gnostic? If so, how Gnostic is it? The question is complicated by confusion over exactly what Gnosticism is.
By the most empirical of measures, it doesn’t look like anything can kill Star Wars. From another angle, one could equally ask: At this late date, can anything revive Star Wars?
During the second week of Advent, as we’re wrapping up Genesis and turning to Exodus, our family viewing often includes DreamWorks’ two animated Pentateuch movies: the Exodus movie The Prince of Egypt and its made-for-TV prequel, Joseph: King of Dreams.
Due to the vagaries of history, Lloyd is less well-known today than Chaplin or Keaton, but his legacy lives on. If you’ve seen Back to the Future (1985), Bringing Up Baby (1938), any of Jackie Chan’s movies, or any incarnation of Superman or Harry Potter, or you’ve experienced Lloyd’s influence.
Pieces of April is about the danger, and the necessity, of hoping against hope in a troubled situation, of taking the risk of trying to make it work when there is ample reason to foresee failure.
Of Gods and Men is the most extraordinary cinematic depiction of the Christian ideal in at least the last quarter century. It also depicts something of the variety of expressions in the Islamic world.
“He has been many different men,” Antonio Banderas tells Catherine Zeta-Jones in the last scene of the rousing 1998 action movie The Mask of Zorro.
Hall doesn’t want credit; as far as he’s concerned, the rescue was God’s work, not his.
Both films revolve around a number of tense cat-and-mouse interviews between the believing protagonist and a shrewd Nazi antagonist … The interviews in both films are a clash of worldviews.
“Peanuts”’ appeal was universal: It was beloved by young and old, by the intelligentsia as well as the masses; it was the definition of mainstream, yet it was also embraced by the counterculture. It was bitterly pessimistic, yet never succumbed to the despair and nihilism of, say, “Dilbert” or “Pearls Before Swine.”
“When it comes to fighting vampires and performing exorcisms, the Roman Catholic Church has the heavy artillery” is how Roger Ebert opened his review of John Carpenter’s Vampires.
Copyright © 2000– Steven D. Greydanus. All rights reserved.