Hank the octopus is a particular standout. Hank’s squash-and-stretch movements push computer animation to yet another high-water mark, and his mad skills are highly entertaining — so entertaining, in fact, that I kind of wish the movie had been about him.
The Innocents opens in a Benedictine convent in Poland in 1945, shortly after the event known, not without bitter irony, as the liberation of Poland by the Soviet army.
Batman v Superman is even more charged with theological language and iconography than Avengers: Age of Ultron. Even the Good Friday opening may not be an accident.
Civil War also demonstrates that the right way to do a “versus” movie pitting heroes against one another is by building relationships — and tensions — over time, then allowing characters to fall out over meaningful practical and personal issues.
Wan goes bigger and splashier here than in the first Conjuring. Metaphorically splashier, I mean; it’s not very bloody, but it’s bloody scary, thanks to Wan’s skills and some shrewd choices by Chad and Carey Hayes, the screenwriting brothers (both Christians) who wrote both films.
Like Kenneth Branagh’s Cinderella last year, The Jungle Book offers a lavish new reimagining of a beloved story, blending elements from the original literary source material with the classic animated Disney version.
García takes his time in the early scenes, allowing us to ease into the rhythms of this eremitic phase in its protagonist’s life. A spiritual journey can’t be rushed; the mind and body must submit to long hardship for the spirit to attain its goal.
Risen might be the only Jesus film in which we first encounter Jesus on the cross, already dead or nearly so.
Copyright © 2000– Steven D. Greydanus. All rights reserved.