The lead actor in this film told me he feels much closer to God in the South Dakota Badlands than in New York or Paris. There were more theologically explicit films this year, but none that brought God closer to me.
Chris Miller and Phil Lord, Chris Miller and Phil Lord / Do whatever Chris Miller and Phil Lord do.
Can they swing from a thread? / No they can’t, they’re Hollywood filmmakers.
How can you watch a movie when you keep wanting to close your eyes in prayer?
Fans of NPR’s This American Life already knew that Lulu Wang had an extraordinary story. What we now know is that she is also an extraordinary filmmaker.
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.
I’m tempted to call Light from Light the first ghost story I’ve ever seen that I completely believe.
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 there anything new to say about Louisa May Alcott’s beloved, much-adapted classic? Thrillingly, Greta Gerwig finds that there is.
As rousing sports films and inspirational biopics go, while King Richard is far from a pitiless, warts-and-all inquiry, it has a particular kind of truthfulness, analogous to the truthfulness of a family scrapbook or stories recounted at family reunions.
Fog and mist, translucent pavilion sidewalls, blowing curtains, dark water, shadows, reflections: the film is full of motifs evoking the murkiness in which Macbeth’s last days play out.
Copyright © 2000– Steven D. Greydanus. All rights reserved.