A faith-based romantic drama with a country music milieu, The Song is couched as a contemporary reimagining of the life of King Solomon, son of David.
The Boxtrolls is so defiantly weird and bleak, so committed to the bitter end to its grotesque aesthetic and chilly story, that even as the film crashes and burns you can’t help being moved by the hardworking stop-motion animators’ devotion to their craft.
Sometimes misleadingly described as a dark comedy, Calvary is certainly dark, and there are sporadic bits of absurdist humor. In keeping with its title, though, it really is a passion play, with Father James as an innocent victim to be sacrificed for the sins of the Church.
Sports movies love underdogs scrapping their way to the top. When the Game Stands Tall is about what happens when a ridiculously successful team finally stumbles.
Guardians is a romp, a lark — rare descriptors for a popcorn summer movie, alas, in these days of dark, grim tentpoles from Maleficent to Hercules, Edge of Tomorrow to Dawn of the Planet of the Apes.
With this sequel to last summer’s spin-off from the franchise that descended from Pixar’s Cars, the World of Cars has left behind not only stock cars, the open road, specific real-world settings and Larry the Cable Guy, but racing itself. Practically nothing is left of John Lasseter’s original vision, except those blasted windshield eyeballs. In this melancholy year without Pixar, it’s worse than no reminder at all.
Wait, where did this movie come from? Dawn of the Planet of the Apes is so not the sequel to Rise of the Planet of the Apes I expected or was prepared for.
Why would a mother at the zoo throw her toddler over a railing into the moat of a lion enclosure? That’s the kind of horrible question that can look very different if you are a police officer or a priest.
The first film related how Hiccup changed his village’s way of life forever, winning the love of the girl of his dreams, the approval of his authoritarian father and the respect of everyone in town — not to mention the loyalty of his magnificent new draconian friend, Toothless. Where do you go from there?
The Fault in Our Stars — in cinematic as well as literary form — cares quite a bit about silly questions, such as the meaning of life and death and love and suffering in a universe sliding toward oblivion, and whether there is Something beyond giving some larger context to our existence, choices and experiences.
It’s fair to say that Disney’s Maleficent plays to an extent as warmed-over Frozen. This is not a good thing, even, I think, if you are a fan of Frozen.
X-Men: Days of Future Past is one of the geekiest comic-book movies ever made — and one of the best. It’s easily the best superhero movie since The Avengers — and, like The Avengers, it plays as a triumphant climax to an uneven series of earlier films.
The Amazing Spider-Man 2’s biggest liability is that it follows The Amazing Spider-Man. This sequel is so much better than its predecessor that I’ve gone from being merely disappointed with the 2012 reboot to being downright angry about it.
Darren Aronofsky’s Noah pays its source material a rare compliment: It takes Genesis seriously as a landmark of world literature and ancient moral reflection, and a worthy source of artistic inspiration in our day.
Here is something I didn’t see coming: The freshest, most unique animated family film from any Hollywood studio in well over a year is … based on a line of brightly colored plastic construction blocks and assorted accessories. I’m not kidding!
Tom Hanks as Walt Disney. That’s almost enough to sell the picture by itself, isn’t it? Who but Hanks can one imagine in the role?
Now, two installments into the epically epic trilogification of Tolkien’s slender fairy tale for children, it seems Jackson and company have only one abiding goal: to keep one-upping themselves with ever more preposterous action sequences, nastier violence and more inappropriate humor.
Frozen may be the most tragic fairy tale in the Disney canon, which is saying something.
What if I were to tell you that there has never until now been a major historical motion picture about the slave experience in America? Could that possibly be true?
Gorgeous, nerve-racking, literally awesome, Gravity takes us to a world much nearer in both time and space than Duncan Jones’ Moon; nearer even than the layer of satellites that our mobile phones and GPS devices talk to every day: only about 350 miles away, in the low Earth orbit of the Hubble Space Telescope. Roughly the distance from Los Angeles to San Francisco — but oh, that’s far enough.
Copyright © 2000– Steven D. Greydanus. All rights reserved.