The prologue, with its storybook-like, slightly arch voiceover narration finely read by Audrey Hepburn, suggests a charming fairy tale with a satiric subtext. And, indeed, Sabrina, Billy Wilder’s delightful romantic comedy starring Hepburn, Humphrey Bogart, and William Holden, is a sort of Cinderella story, with a chauffeur’s daughter who is transformed into the belle of the ball and dances with the prince — except that the "prince" is, if not a beast, at least a shallow cad, while the real love interest is almost more a frog than a prince.
To “rip open the inconsolable secret,” to awaken the spiritual hunger for something beyond the materialistic scope of our fragmented, desacrilized modern existence, was the burden of Andrei Tarkovsky, cinematic poet laureate of the Russian soul.
One of the best WWII-era WWII movies, Sahara is a thoroughly entertaining war actioner starring Humphrey Bogart as a tough American sergeant commanding a tank crew in the Libyan desert.
Salt is tasty in moderation, though you wouldn’t want to make it a big part of your diet.
This is not a thought Tom takes to heart. Nor is it one he struggles with, or indeed ever thinks about again. The quest for revenge is at the heart of The Salton Sea, and although in this one scene the film fleetingly acknowledges the possibility of an alternative to bitterness and hatred, it’s not in the context of any larger interest in or exploration of the moral issues.
The Rock versus massive earthquake event. Seems fair.
The shocking thing about Sanctum’s fictional survival story, relocated to Papua New Guinea, is not that it kills off one expedition member after another, often quite brutally. The shocking thing is how callously it treats their lives. More than one team member is euthanized by his fellows, submerged and drowned after sustaining catastrophic injuries.
No, no, not that true spirit of Christmas. This is a Disney movie, after all. The most we can hope for is another serving of Dickensian "Christmas Carol spirit" — brotherhood, family, generosity, that sort of thing.
Memo to Susan Sarandon, vis-a-vis your “Nazi pope” comments this weekend: Joseph Ratzinger was a victim of the Nazi horror.
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?
Steven Spielberg’s harrowing WWII drama opens with a horrifying recreation of the D-Day invasion of Normandy Beach that has been called the most realistic war sequence ever shot.
If the toe-tapping gospel music of The Fighting Temptations appeals to you but you were put off by that film’s negative Christian stereotypes and lack of even rote Hollywood spiritual uplift or pro-faith sentiment, treat yourself to this engaging, gospel-infused documentary tribute to the African-American men and women who first began combining the heart and soul of Negro spirituals with the infectious rhythms of jazz and blues.
Riveting and edifying, this WWII drama stars Gregory Peck as Msgr. Hugh O’Flaherty, a plain-speaking, straight-dealing Irish priest who boldly aids enemies of the Third Reich under the watchful eye of Christopher Plummer’s Nazi Lt. Col. Herbert Kappler. Their cat-and-mouse game is thrilling and great fun, and culminates in a startling showdown in a very significant setting.
From the armbands to the ghettos, from forced labor to extermination camps and beyond, Schindler’s List covers the successive historical stages of the Final Solution more comprehensively than any other popular film had at the time, or has since. That, in part, is its great achievement — and, for many of its critics, its enduring stigma.
Scooby Dooby Doo
And Shaggy too
You both look and sound great.
But Daphne, you’re too Buff
Fred thinks he’s tough
And Velma — wow, you’ve lost weight!
(Written by Jimmy Akin) Scooby-Doo was born in 1969. He was reborn almost thirty years later, in 1998.
Scott Derrickson is such a great interview subject that it was hard for me to cut down our sprawling 45-minute discussion to the 2500-odd words of the text article that ran earlier this week. I’m very pleased, then, to be able to offer the Reel Faith video version of the entire interview.
Among the least inspiring phrases in the English language, I wrote in my review of Prince of Persia: The Sands of Time, is “based on a video game.” Scott Pilgrim vs. the World is not based on a video game, but video games are part of its artistic DNA, along with comic books, anime, kung fu movies and music videos. Big difference.
The Matrix is simultaneously a philosophical model and a popular myth — a postmodern analogue to both Plato’s cave and Homer’s Odyssey, Descartes’ daemon and Pilgrim’s Progress, the brains-in-vats scenario and Star Wars.
This little essay is barely a footnote to Ebert’s book. Still, in the dozen or so years that I’ve been writing movie reviews, I’d like to think I’ve come up with a few witty, possibly even useful terms — Everything Movie, Medieval Grunge and Mythology-Bound among them — that might contribute to movie discussion.
Copyright © 2000– Steven D. Greydanus. All rights reserved.