Anna and Elsa’s relationship is a major improvement on the first film, but in almost every other way this sequel is lost in the woods.
The strongest scene in Kasi Lemmons’ Harriet might be a moment when its indomitable protagonist appears at her weakest.
There seems to be no reason for the title Ad Astra, meaning “to the stars,” to be in Latin, except to highlight writer–director James Gray’s elevated intentions.
Near the end comes a moment when Alexandre is asked whether he still believes in God. The scene cuts from a complex reaction shot, the question left unanswered. The point, I think, is neither to affirm faith nor to deny it, but to highlight the stakes. By their action or inaction Church leaders make God more credible or less credible, instill faith or shatter it.
Is it possible, in the world of Joker, to believe in real heroism? Do the filmmakers even care about that question?
I’m tempted to call Light from Light the first ghost story I’ve ever seen that I completely believe.
It’s tempting to suppose that Maleficent: Mistress of Evil opening in the wake of Columbus Day isn’t a coincidence.
Many movies have made me cry. Very few have been as difficult or impossible even to write about without crying as Nanfu Wang and Jialing Zhang’s brilliant, devastating Sundance Grand Jury winner One Child Nation.
Copyright © 2000– Steven D. Greydanus. All rights reserved.