For the second year in a row, my favorite film is a winning love story named for an urban area more or less in my backyard.
The many faces of Jesus at the movies in 2016 were perhaps the most notable trend in a larger pattern of notable religious themes in the year’s films. There were, though, other trends last year worth noting.
I can’t think of another year quite like 2016. To begin with, Jesus himself was on the big screen in an extraordinary number of screen incarnations.
“Some people can’t get over something major that’s happened to them at all,” says filmmaker Kenneth Lonergan says. “Why can’t they have a movie too?”
One of the year’s most critically acclaimed films, Moonlight isn’t easy to watch, but is it worth it? I think it is.
An important story you probably don’t know about, starring Taraji P. Henson, Octavia Spencer and Janelle Monáe as NASA “computers” (really!) during the 1960s space race, when NASA’s Langley Research Center was still segregated.
Martin Scorsese’s Silence is simply one of the year’s most difficult and necessary films.
Chris Pratt and Jennifer Lawrence in space. How bad could it be?
So much better and more satisfying than the courtroom drama it could have been.
I try never to spoil anything, but honestly, just skip this video and go see it. I mean, then come back and watch the video, of course.
It’s the Star Wars prequels for Harry Potter. Actually, it made me wish I was watching Doctor Strange again.
Thomas P. Harmon, professor of theology and culture at John Paul the Great Catholic University, has written a thoughtful essay for Catholic World Report responding to my critique of the moral murkiness of Rogue One: A Star Wars Story.
Even features come with trade-offs, and the Marvelization of Star Wars is no exception. This might not be as clear in The Force Awakens — about as pure a work of nostalgia and homage as can possibly be contrived short of a shot-for-shot remake — as it is in Rogue One, where the Marvel-style engineering is more obvious.
If you had to cast two Hollywood actors to watch being all by themselves in a luxury starliner on a doomed 90-year voyage to a planet they will never live to see, you might just pick Chris Pratt and Jennifer Lawrence. In a way, that’s the problem with Passengers, or where the problems begin.
When 17th-century Japanese authorities in the time of the Tokugawa shogunate found it necessary to send the colonial powers of Europe packing and their European Jesus with them, they didn’t just shatter the missionaries’ bodies. They shattered their narrative.
All this raises a question: When is a Star Wars movie not a Star Wars movie?
No film in Miyazaki’s oeuvre haunts me like Spirited Away. One reason is the evocation of a seemingly impenetrable, incalculable world with rhythms and rituals that seem all the more opaque and unnerving because they are routine and transparent to those that are of that world.
I don’t expect animated heroes to have uniformly ideal, harmonious family lives. It’s not realistic — and it doesn’t make for good drama, which needs conflict. The ubiquity of the pattern, though, is striking.
It would be going too far to say that Moana combines everything I enjoy about contemporary Disney with everything I dislike, but it’s got quite a bit of both.
In some ways it warrants comparison with Christopher Nolan’s Interstellar, if only because Arrival achieves much of what I was hoping for from Interstellar.
The fact is, moving from the Harry Potter films to Fantastic Beasts feels a bit like moving from the original Star Wars trilogy to the Star Wars prequels.
In each of their latest films, the battle against a threatening power raises questions about which principles the protagonist should or shouldn’t compromise in order to protect his world — questions that aren’t necessarily clearly answered by the end of the film.
The director and screenwriter spoke at a screening of the film at the New York Archdiocese’s cultural center, and I chatted with Gibson about the film.
Gibson crafts a resolutely traditional exercise in Hollywood mythmaking: a tale of a man who stoically endures accusations of cowardice before being vindicated as the bravest of all, a man of integrity who stands by his unpopular principles regardless of the consequences; a pious man whose sincere faith eventually wins the respect and admiration of his less devout comrades.
The paradox of contemporary Hollywood blockbusters is that in our time virtually anything conceivable, no matter how wild and out there, can be put on the screen, but it almost never is.
The prominent, polyvalent exploration of the uses of religion and especially Scripture, both to condone slavery and to condemn it, to sedate slaves and to inflame them, is one of the most striking and welcome things about the film.
As a seminarian in the 1940s, the future Pope St. John Paul II wrote a play about a Polish artist turned religious who helped inspire his vocation. In 1997, a film adaptation featuring Christoph Waltz was directed by Krzysztof Zanussi (Life for Life).
Krzysztof Zanussi on Our God’s Brother, Adam Chmielowski, Pope John Paul II, and how he discovered Christoph Waltz.
The truth is that It’s a Wonderful Life is both darker and more subversive than its popular reputation as cheery holiday “Capra-corn” would suggest, and more robustly hopeful than cynics and hipster deconstructionists would have it.
1999 was a very good year for film, and how much more peculiar Tim Burton’s Miss Peregrine’s Home for Peculiar Children might have been had it come out that year, before the X-Men and Harry Potter franchises were launched in 2000 and 2001, respectively.
Copyright © 2000– Steven D. Greydanus. All rights reserved.