Brooklyn is what seems like an increasingly rare gift: a film about the drama and discovery of an ordinary human life: about love and loss, sorrow and self-discovery, in a story that for once is not overshadowed by some deep injustice or extraordinary human conflict.
Clearly Horton can be called a “pro-life” hero in a broad sense, and even in a sense that resonates in some striking ways with the pro-life cause. And his isn’t the only animated adventure with pro-life resonances.
The Young Messiah is an impressive achievement of Christian imagination, a work that does one of the noblest things a Bible movie, or any literary adaptation, can do: It brings persuasive emotional and psychological depth to characters and situations that were either hidden or else so familiar we may have trouble seeing them at all.
There are many things I love about The Young Messiah, as my review elaborates, but the way it depicts Jesus’ consciousness at the age of seven is one of my favorite things about it.
Why has Catholic response to Spotlight been so positive? One key reason is the film’s shrewd choice of point of view.
Metropolis is an operatic, dystopian science-fiction parable with roots in various sources including biblical and medieval Christian imagery, while Modern Times is a satiric comedy at times recalling Dickens and anticipating “Dilbert.” Yet the two films converge around political, economic, social, and technological themes.
While concerns around “Jesus of Nazareth” were short-lived, The Passion of the Christ remains controversial, beloved by many and condemned by many others.
The director of my favorite movie this spring about Jesus and a Roman soldier talks about working with Sean Bean, Jesus’ human consciousness, and bringing the biblical world to life.
This year my circle of Christian cinephiles converged on the year’s best films more closely than usual.
Intriguingly, although I Confess was made first and The Wrong Man closely follows its true story, there are a number of notable convergences between the two films.
Copyright © 2000– Steven D. Greydanus. All rights reserved.