Starring Anton Rodgers as an avuncular Lewis at home in Oxford in 1963, the year that he died, the short film cuts between Lewis’s running commentary on the events of his life and flashback dramatizations of those events.
Cabin in the Woods in 60 seconds: my “Reel Faith” review.
The Call in 60 seconds: my “Reel Faith” review.
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.
Of Gods and Men is the most extraordinary cinematic depiction of the Christian ideal in at least the last quarter century. It also depicts something of the variety of expressions in the Islamic world.
I don’t use Google alerts or otherwise troll for people talking about me online, so it was only happenstance that I happened upon a self-labeled “rant” about my Magdalene Sisters essay from a Bill Van Dyk, whose website is called Chromehorse.net.
Civil War also demonstrates that the right way to do a “versus” movie pitting heroes against one another is by building relationships — and tensions — over time, then allowing characters to fall out over meaningful practical and personal issues.
At last, a Marvel Cinematic Universe movie that doesn’t come down to destroying a large urban area while saving the city, planet, or universe.
After a rash of immature, bad-boy cinematic superheroes for whom responsibility is a bigger challenge than taking down supervillains — think Iron Man, Thor and Green Lantern — a hero for whom decency, humility and self-sacrifice come naturally is a breath of fresh air.
I like Lawrence Toppman’s comment on this one: “This sequel is, by design, entirely absorbing and satisfying without being one whit memorable.”
Directed by Raoul Walsh (The Thief of Bagdad) from a screenplay adapted by Forester himself from his first three novels, the film deftly balances some of the best age-of-sail sea battles ever filmed with a love-interest storyline in which Hornblower finds himself unexpectedly taking on a female passenger, Lady Barbara Wellesley (Virginia Mayo).
At this stage in Marvel Cinematic Universe history you almost need a Tolkieneque set of appendices and diagrams to make complete sense of everything.
As the name implies, Caramel is a gooey, insubstantial confection, often sweet, occasionally cloying, sometimes sticky — in many respects about on a par with the likes of Beauty Shop. The humor is broad, characters stereotypical, the situations formulaic. Yet there’s no good–bad character divide, no requisite A‑story conflict, and few tidy resolutions.
Cars is Pixar’s most improbable success to date, a film that could easily have misfired, but somehow does not.
Visuals aside, Cars 2 is the first Pixar film ever (or at least since A Bug’s Life) that could one could easily imagine as a DreamWorks film—circa Shark Tale perhaps, with its punningly fishified analog of the human world. Or, with its frenetic action and gimmickry, Cars 2 bears some resemblance to a Blue Sky Studios cartoon (circa Robots, say, or Rio, with its world culture flavor). In a word, not only is Cars 2 mediocre, it doesn’t even feel like mediocre Pixar.
At this point it seems like too much to hope for that any Pixar sequel, let alone a Cars sequel, should function smoothly from start to finish, but at least it ends well.
The result of this somewhat haphazard collaboration is a breathtaking creative synergy, a perfect storm in which everything happened to come together with magical rightness. The sparkling script balances wittily cynical dialogue, weepy sentimentalism and clear-eyed idealism. The characters that matter are credibly, even seriously flawed, yet remain deeply sympathetic and open to redemption. The tightly crafted plot is at once intricate and elegant, at turns rollicking and stirring, and the snappy storytelling doesn’t come at the expense of rich, moody atmosphere. The top-notch cast are at the top of their games, and the timeless score accents a classic wartime melodrama that hasn’t lost a thing as time goes by.
The atheists and nonbelievers in The Case for Christ don’t have horns and tails, or even mustaches for twirling.
In a way, the obnoxious tell-all trailer for Cast Away gives away more than the film itself. That trailer, with moronic thoroughness, reveals the film’s set-up, the crisis, the hero’s ups and downs, his triumph, the climax, and the denouement. What it doesn’t let on is that the movie itself won’t tell you what to think or how to feel about what happens, even at the end. The trailer is typical Hollywood feel-good, inspirational fare; the story in the film is rather more ambiguous and challenging.
Yes, the Cat now has mojo — yeah, baby, groovy! / Except he goes “OH yeah!” instead in this movie. / What’s next? Will the Sneetches get wild and crazy? / Will the Lorax get jiggy with Daisy-Head Mayzie?
Copyright © 2000– Steven D. Greydanus. All rights reserved.