The Fury Road prequel is a satisfying return to the world of the demented 2015 film—but there were two missed opportunities, relating to Immortan Joe’s Wives and Furiosa’s revenge.
In which I chat with the editor of a collection of essays about the Arts & Faith Top 100 films about my contribution to the book
In my reviews of Dune: Part One and now Dune: Part Two (filed and pending publication; stay tuned!) I’ve written a bit comparing and contrasting Dune with Star Wars. Here I’d like to consider Star Wars in relation to The Lord of the Rings and J.R.R. Tolkien’s larger legendarium.
Vivo remains focused on the experiences of its subjects and their spirituality. It’s not a catechetical or apologetical presentation, but a portrait of five souls and a document, perhaps, of the workings of grace. Vivo is alive.
If The Lord of the Rings is “fundamentally religious and Catholic,” why are there no religious institutions or rituals?
Bong Joon-Ho’s brilliantly constructed art-house hit is the most powerful of this year’s many takes on the theme of haves and have-nots.
Is there anything new to say about Louisa May Alcott’s beloved, much-adapted classic? Thrillingly, Greta Gerwig finds that there is.
Noah Baumbach tells persuasive stories about unhappy families. This is one of his most insightful.
Robert De Niro, Al Pacino and Joe Pesci star in Martin Scorsese’s decade-spanning gangland opus, which turns out to be a very different movie than it seems … but you have to stick with it.
Taika Waititi has directed some cracking comedies, but can even he make Hitler funny?
Quentin Tarantino’s gifts are impossible to deny, but while I often find his set pieces mesmerizing, I have yet to fully buy into one of his films. This might be the closest one yet, though.
Why does Robin Hardy’s disquietingly cheery 1973 British folk-horror classic The Wicker Man work better than this sophomore film from the writer-director of Hereditary?
Fans of NPR’s This American Life already knew that Lulu Wang had an extraordinary story. What we now know is that she is also an extraordinary filmmaker.
For the first time, Pixar has made a Toy Story movie that adds nothing essential to the arc of the previous films. It’s still worth seeing.
I mean, you can kill them, but that’s not the point. The question is, were they ever alive in the first place?
It’s come to the point where the mere sight of the Illumination logo makes me think “lazy and scattershot.”
It’s just like the opening act of Favreau’s Chef: Favreau is literally Carl, and Disney is Dustin Hoffman.
How can you watch a movie when you keep wanting to close your eyes in prayer?
The best X-Men movies, by my lights, are about hope. Dark Phoenix doesn’t seem to know what it wants to be about.
Who is the target audience for Precious Moments from hell, or at least from a bad country song?
Copyright © 2000– Steven D. Greydanus. All rights reserved.