Scarlett Johansson is becoming — no, at this point it’s safe to say she is — the default Hollywood poster girl for transhumanism.
The atheists and nonbelievers in The Case for Christ don’t have horns and tails, or even mustaches for twirling.
The MutoVerse is ramping up to a Godzilla vs. Kong rematch, and in due course Mothra, Rodan and King Ghidorah will presumably all take turns fighting one another, culminating in something like the airport set piece in Captain America: Civil War, with everyone against everyone else, only with Mutos instead of superheroes.
Despite the villainous full-court press, Batman’s victory is so assured that no one is even worried about it. Clearly, something subversive has to happen to kick things out of superhero-movie business as usual and challenge Batman to his core. Would you believe … a giant swirling energy portal in the sky?
Stewart gives us a brittle, confused Xavier somewhat akin to his elderly Picard from the series finale of Star Trek: The Next Generation. And Jackman, who has invested even more in Wolverine than Stewart has Xavier, gives his most complex, conflicted performance to date as a battered, weary, despairing warrior longing only for oblivion.
The Great Wall is one of those movies that is more interesting for what it portends and the discussion around it than for what is actually onscreen. Not that what is onscreen, in the most literal sense, is bad or uninteresting.
Like many popular sensations, from Titanic to Twilight, from Dan Brown to Lee Child’s Jack Reacher novels, The Shack is easy to rip apart if one has a mind to.
Copyright © 2000– Steven D. Greydanus. All rights reserved.